Home » The PARIS Forums » PARIS: Main » Bomb attacks in London England
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| Re: Bomb attacks in London England [message #55534 is a reply to message #55505] |
Sun, 10 July 2005 21:40   |
Jamie K
Messages: 1115
Registered: July 2006
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Senior Member |
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ed me on my way down to New Mexico this afternoon to inform me that
she had found Doodle's stash........5 fairly large rat heads qand some other
gross stuff under the sink in the utility room. l could not convince her to
take pictures before she thrwe the stuff away..........but I
tried..........I *really* tried.
Monday........July 18th.............day of the rat
;o)
"Mike Claytor" <claytor@nospam.com> wrote in message
news:42dbf85c$1@linux...
>
>While I agree to some extent, maybe this isn't the place to discuss world
politics and conflicts, but music as it represents life is subject to
harmony and disharmony, consonance and dissonance, tension and release. Some
of the greatest music was written as a result of the deepest suffering and
conflict. It's all relevant and part of the creative process, though it may
not be pretty. Our world today is one of conflict, dissonance, tension and
strife and we need to discuss and realize the truth. Sticking your head in
the sand and ignoring the evil that we face is as self indulgent and
narcissistic as religious extremism.
Ciao,
Rich
"The world wishes to be deceived." - Sebastian Franck (around 1500 A.D.)Yes, and you can even make her squeeze between some of those
spheres that look like there's no room between them.
Although that would be a bit more flexible than anyone could
expect a real woman to be :)
"Martin Harrington" <lendan@bigpond.net.au> wrote:
>Sure did................--
>Martin Harrington
>www.lendanear-sound.com
>
>"Lance Reichert" <lance.rocks@nospam.verizon.net> wrote in message
>news:42dc46a8$1@linux...
>> Dudes, Did you try grabing her with the mouse?
>> WOW!
>>
>>
>>
>> "Rich Lamanna" <richard.lamanna@verizon.net> wrote in message
>> news:42db3943$1@linux...
>>> Wow, she looks totally blissful and graceful throughout all of this.
My
>> kind
>>> of woman.
>>>
>>> Ciao,
>>> Rich
>>>
>>> "The world wishes to be deceived." - Sebastian Franck (around 1500 A.D.)
>>>
>>>
>>
>>
>
>This is a multi-part message in MIME format.
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Sticking your head in
the sand and ignoring the evil that we face is as self indulgent and
narcissistic as religious extremism.
No, just deal with it in another place that's all.
What's with all this dirt in my ear?
Tom
"Rich Lamanna" <richard.lamanna@verizon.net> wrote in message =
news:42dc5ac6@linux...
While I agree to some extent, maybe this isn't the place to discuss =
world
politics and conflicts, but music as it represents life is subject to
harmony and disharmony, consonance and dissonance, tension and =
release. Some
of the greatest music was written as a result of the deepest suffering =
and
conflict. It's all relevant and part of the creative process, though =
it may
not be pretty. Our world today is one of conflict, dissonance, tension =
and
strife and we need to discuss and realize the truth. Sticking your =
head in
the sand and ignoring the evil that we face is as self indulgent and
narcissistic as religious extremism.
Ciao,
Rich
"The world wishes to be deceived." - Sebastian Franck (around 1500 =
A.D.)
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<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman" =
size=3D3>Sticking your=20
head in<BR>the sand and ignoring the evil that we face is as self =
indulgent=20
and<BR>narcissistic as religious extremism.</FONT><BR></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>No, just deal with it in another =
place that's=20
all.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>What's with all this dirt in my =
ear?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Rich Lamanna" <<A=20
=
href=3D"mailto:richard.lamanna@verizon.net">richard.lamanna@verizon.net</=
A>>=20
wrote in message <A=20
href=3D"news:42dc5ac6@linux">news:42dc5ac6@linux</A>...</DIV>While I =
agree to=20
some extent, maybe this isn't the place to discuss world<BR>politics =
and=20
conflicts, but music as it represents life is subject to<BR>harmony =
and=20
disharmony, consonance and dissonance, tension and release. Some<BR>of =
the=20
greatest music was written as a result of the deepest suffering=20
and<BR>conflict. It's all relevant and part of the creative process, =
though it=20
may<BR>not be pretty. Our world today is one of conflict, dissonance, =
tension=20
and<BR>strife and we need to discuss and realize the truth. Sticking =
your head=20
in<BR>the sand and ignoring the evil that we face is as self indulgent =
and<BR>narcissistic as religious =
extremism.<BR><BR>Ciao,<BR>Rich<BR><BR>"The=20
world wishes to be deceived." - Sebastian Franck (around 1500=20
A.D.)<BR><BR></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0072_01C58BEF.9E2310F0--No, I'm in Kansas City...and no turn table..just the records.
Rod
"Jeremy Luzier" <j.luzier@comcast.net> wrote:
>Rod.... aren't you in nashville and do you have a turn table?
>
>i would friggin love to get a copy of that record!! i don't know who to
pay
>or where to pay it... but gosh! i need that record! :-)
>
>last time i looked on the internet i could not find meltdown or i wanna
be a
>clone.
>
>and yes of course the star sticker goes to Brian P. for answering the
>question correctly.
>
>so Brian T is in Houston now? at a church? that's news!
>
>church gigs can be nice if you can put up with the....
>
>
>
>well the church really. :-0
>
>Jeremy
>
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>news:42dbe8a0$1@linux...
>>
>> Yup...I'm looking at the album right now. I'm kind of upset that
>> Brian P. beat me to the punch on the answer.
>> Rod
>> "Mark McCurdy" <gmmccurdy@hotmail.com> wrote:
>> >Steve Taylor's "I Wanna Be A Clone?"
>> >
>> >
>> >"Brian Porick" <brianporick@hotmail.com> wrote in message
>> >news:42dbc00f$1@linux...
>> >>> here is some trivia for ya.....
>> >>>
>> >>> who is playing bass on "i want to be a clone".... you know the
>intro....
>>
>> >>> "da
>> >>> ga da ga da ga da ga dun, da ga da ga da ga da ga dun,......"
>> >>
>> >> I believe that would be our old friend Brian Tankersley...
>> >>
>> >>
>> >>
>> >
>> >
>>
>
>http://www.rogernichols.com/EQ/EQ_94-06.html
Walter Becker's CD sounded absolutely great. The stuff we're using now is a
bit beyond what Roger Nichols was using in 1994.
When I read stuff like this, it puts things back in perspective as far as
the *latest, greatest* toys are concerned.I had a DN780 in the mid-'80's in my second studio. The first version of the
chipset that the unit came with sounded really OK but couldn't follow the
AMD I used for a couple of years in my first studio. But the AMD costed 4
times more in those days, so when building up a new studio in another town
it was too pricey for me. So, then I got the next version chipset sent to me
with new types of reverbs and wow, it now really sounded great. What a
sweetie. But it burned up with my whole studio 4.oct.'87. I was thinking of
saving it when running out, but instead, I saved my Jazzmaster '63 model
when running out with the group that was doing recordings that Sunday.
erlilo
"DC" <dcicchetti@urs2.net> skrev i en meddelelse news:42dc3861$1@linux...
>
> I want a Klark-Teknik DN780. From the mid-1980's. Only one
> input, but what a great sounding reverb. You see them on ebay
> now and then.
>
> DC
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>Just picked up a Sony V77 and a Sony MU-R201. Not only are these two of
> my
>>favorite reverb boxes, but more importantly, in keeping with everything
> else
>>I've got here, they're long since discontinued.
>>
>>;o}
>>
>>
>I'm often trying a new theory on my old days, started by Behringer: The
"latest, the cheapliest";-)
erlilo
"DJ" <animix_spam-this-ahole_@animas.net> skrev i en meddelelse
news:42dc8f41$1@linux...
> http://www.rogernichols.com/EQ/EQ_94-06.html
>
> Walter Becker's CD sounded absolutely great. The stuff we're using now is
> a
> bit beyond what Roger Nichols was using in 1994.
>
> When I read stuff like this, it puts things back in perspective as far as
> the *latest, greatest* toys are concerned.
>
>that would be correct mr. d'oh
On Mon, 18 Jul 2005 13:33:12 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>Ok..........so I should address this to Mr. Footballhead.........correct.
>
>;o)
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:gs0od1ticvufm5pmtbs8tb4vcjbgdvmgk5@4ax.com...
>> it's in the fridge next to the ketchup. but...if it's not the try
>> P.O.B 133
>> Williamston MI.
>> 48895
>>
>> don'y forget to put your return address on the envelope. no, not
>> because the PO may lose it, but for the other obvious reason.
>>
>> On Mon, 18 Jul 2005 12:42:37 -0600, "DJ"
>> <animix_spam-this-ahole_@animas.net> wrote:
>>
>> >It's out of the oven. Now I've lost the post with your
>address.........c'mon
>> >man..........one more time.
>> >
>> >;o)
>> >
>> >"rick" <parnell68@hotmail.com> wrote in message
>> >news:uasnd15vq8f5ph51vho1goi6rqhji72230@4ax.com...
>> >> it does help to explain the tardy cd. is it on it's way yet? god,
>> >> i'd make a wonderful wife/mother huh.
>> >>
>> >> ;o)
>> >>
>> >> On Mon, 18 Jul 2005 09:04:08 -0600, "DJ"
>> >> <animix_spam-this-ahole_@animas.net> wrote:
>> >>
>> >> >This is sort of the the same approach I take when building a new
>> >computer.
>> >> >
>> >> >;o)
>> >> >
>> >> >"rick" <parnell68@hotmail.com> wrote in message
>> >> >news:c8fnd1pe1u2tbim0ujrj4sdjo29f90r5cv@4ax.com...
>> >> >> what if i follow the wrong trail by mistake and end up lawyers
>office
>> >> >> of the guy (whose other parts i followed by your advice) he's suing.
>> >> >> he'll listen to my besotted tale of woe and offers me a job as a
>> >> >> numbers runner for one of his other clients. then after a few
>> >> >> successful runs i collect my money only to find out that it's
>> >> >> counterfeit. this of course happens after i go in to pay the
>parking
>> >> >> ticket i got in my rented car since mine is the real trail i should
>> >> >> have followed.
>> >> >>
>> >> >> now i'm in court facing 3 to 5 for passing bad bills. the lawyer
>who
>> >> >> got me into this shit to begin with refuses to take my case saying
>> >> >> that i should have known better than to follow his advice.
>> >> >>
>> >> >> after the paramedics put my immobile body onto the gurney and in to
>> >> >> the ambulance we proceed to the hospital where the crash cart awaits
>> >> >> my expected arrival. making the final turn to the hospital entrance
>> >> >> the rear door of the ambulance swings open as the first of two
>wheels
>> >> >> hits the dead cat in the road. the ensuing bump while not large is
>> >> >> enough to sever the relationship between the gurney and floor of my
>> >> >> ride. my open eyes catch sight of the medics in the back as i pass
>> >> >> them out the door.
>> >> >>
>> >> >> the ambulance screeches to a hault but the gurney continues on
>> >> >> striking a bike messenger just hard enough to alter my direction 90
>> >> >> degrees to port and down the rather sizable steep hill. as my speed
>> >> >> gathers down the hill, the thought "oh crap" begins to replace the
>> >> >> previous ...
>> >> >>
>> >> >> i could go on about this but the memories are far too painful for me
>> >> >> to continue and i'm sure you'll understand my stopping.
>> >> >>
>> >> >>
>> >> >> On Mon, 18 Jul 2005 07:55:56 -0600, "Miguel Vigil"
><nospam@nospam.com>
>> >> >> wrote:
>> >> >>
>> >> >> >just follow the trail of smashed up car parts by the interstate...
>> >> >> >
>> >> >> >
>> >> >> >El Crumbs
>> >> >> >
>> >> >> >
>> >> >> >
>> >> >> >
>> >> >> >"rick" <parnell68@hotmail.com> wrote in message
>> >> >> >news:53gkd197fapohekpdm96psq62r39eq0i47@4ax.com...
>> >> >> >> "and we know where you live"...that's good to know. as a drunken
>> >> >> >> jackass, there may come a day when i'll need help finding the
>right
>> >> >> >> driveway to pull up...whew.
>> >> >> >>
>> >> >> >> ;o)
>> >> >> >>
>> >> >> >>
>> >> >> >> On Sat, 16 Jul 2005 19:45:25 -0600, "DJ"
>> >> >> >> <animix_spam-this-ahole_@animas.net> wrote:
>> >> >> >>
>> >> >> >> >Hehehe..........Mr. Simplicity is down for repairs. Chipset fan
>> >> >crapped
>> >> >> >out
>> >> >> >> >on Mr. S' mobo. I'm picking up the slack until heatsink
>arrives.
>> >> >There
>> >> >> >> >really is no human associated with either of these
>> >names........only
>> >> >> >> >electornic componentry.......and we know where you live.
>> >> >> >> >
>> >> >> >> >
>> >> >> >> >
>> >> >> >> >"rick" <parnell68@hotmail.com> wrote in message
>> >> >> >> >news:e64jd1h050tesjr8taququt3sbnokoo6gi@4ax.com...
>> >> >> >> >> after 2 months mr. simplicity is finally ready to figure out
>how
>> >to
>> >> >> >> >> actually mail me the cd and...well...it appears to be a
>serious
>> >> >> >> >> challenge so Dj is filling in whilst he figures it out.
>> >> >> >> >>
>> >> >> >> >> On 17 Jul 2005 08:38:38 +1000, "Mike Claytor"
>> ><claytor@nospam.com>
>> >> >> >> >> wrote:
>> >> >> >> >>
>> >> >> >> >> >
>> >> >> >> >> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >> >> >> >> >>OMG!!! ;o(.........I just listened to the MP3's. Bad
>mistake. I
>> >> >> >gonna'
>> >> >>
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| Re: Bomb attacks in London England [message #55536 is a reply to message #55513] |
Mon, 11 July 2005 01:21 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
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7a82@linux..." target="_blank">42d97a82@linux...
>> >> >> >> >> >>> http://www.platesonics.com/index.html
>> >> >> >> >> >>>
>> >> >> >> >> >>> ...........now go build a sound-proof room
>> >> >> >> >> >>>
>> >> >> >> >> >>> ;o)
>> >> >> >> >> >>>
>> >> >> >> >> >>>
>> >> >> >> >> >>
>> >> >> >> >> >>
>> >> >> >> >>
>> >> >> >> >
>> >> >> >>
>> >> >> >
>> >> >>
>> >> >
>> >>
>> >
>>
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Ok!
Ciao,
Rich
"The world wishes to be deceived." - Sebastian Franck (around 1500 A.D.)
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<DIV><FONT size=3D2>Ok!</FONT></DIV>
<DIV><BR><FONT size=3D2>Ciao,<BR>Rich</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>"The world wishes to be deceived." - Sebastian =
Franck (around=20
1500 A.D.)</FONT></DIV></BODY></HTML>
------=_NextPart_000_0027_01C58C2E.13111CC0--"Nappy" <mgrant01@san.rr.com> wrote:
>This is a sad day for me. Good luck Derek.
thanks nappy!Well, Lakewood is not just any church gig haha. The are the largest church
in the US. This last Sunday they moved into their new building (Compaq
Center where the Rockets used to play). 60,000 attended I believe. Their
band is on staff full time with nice pay checks from what I gather. They
release CDs and DVDs on a yearly basis so this is right up his alley I would
imagine.
"Jeremy Luzier" <j.luzier@comcast.net> wrote in message
news:42dc209f@linux...
> Rod.... aren't you in nashville and do you have a turn table?
>
> i would friggin love to get a copy of that record!! i don't know who to
> pay
> or where to pay it... but gosh! i need that record! :-)
>
> last time i looked on the internet i could not find meltdown or i wanna be
> a
> clone.
>
> and yes of course the star sticker goes to Brian P. for answering the
> question correctly.
>
> so Brian T is in Houston now? at a church? that's news!
>
> church gigs can be nice if you can put up with the....
>
>
>
> well the church really. :-0
>
> Jeremy
>
>
> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
> news:42dbe8a0$1@linux...
>>
>> Yup...I'm looking at the album right now. I'm kind of upset that
>> Brian P. beat me to the punch on the answer.
>> Rod
>> "Mark McCurdy" <gmmccurdy@hotmail.com> wrote:
>> >Steve Taylor's "I Wanna Be A Clone?"
>> >
>> >
>> >"Brian Porick" <brianporick@hotmail.com> wrote in message
>> >news:42dbc00f$1@linux...
>> >>> here is some trivia for ya.....
>> >>>
>> >>> who is playing bass on "i want to be a clone".... you know the
> intro....
>>
>> >>> "da
>> >>> ga da ga da ga da ga dun, da ga da ga da ga da ga dun,......"
>> >>
>> >> I believe that would be our old friend Brian Tankersley...
>> >>
>> >>
>> >>
>> >
>> >
>>
>
>...i'd like to thank everyone for some spirited & lively, yet
respectful (for the most part), conversation. While I know it's
frustrating to have political threads on ANY newsgroup that's
not politically-oriented, like someone pointed out, it's part
of life & is tough to avoid that sort of thing from time to
time in an unmoderated setting. It's even tougher to try &
take those threads over to another section of the group,
because once you see a post that you feel compelled to respond
to it's kinda like golf... you gotta play it where it lies :D
Anyway, thanks to everyone for a mostly civil tone... that's a
personal thanks to the people I was engaged in conversation
with this was a lot better than some threads I've seen here in
my time on this NG.
"And, now back to your regularly-scheduled audio rants!"
NeilIndeed, I second that.
For a bit there I was planning to move the threads over to General, but I
ended up letting them stay as for the most part people were being respectful
and actually exchanging info.
I'd still prefer these threads were kept in the general group. I think that's
best all round, but of course sometimes discussions aren't planned and a
thread just diverts off.
Generally though I think things were handled well, and though I agree with
Don that it's pretty seldom if ever that someone's fundamental position changes
in such a talk, I do beleive that, with respectful informed discussion, that
over time people will become better educated as well as better thinkers.
I think if we acheive those two things we're doing well, and I think overall
these recent discussions were probably a step in that direction.
But anyhow, this is an audio group, so let's all forget the politics and
focus on my NEW DAW BOX SHALL WE? ;o)
Cheers,
Kim.
"Neil" <OIUOIU@OIU.com> wrote:
>
>..i'd like to thank everyone for some spirited & lively, yet
>respectful (for the most part), conversation. While I know it's
>frustrating to have political threads on ANY newsgroup that's
>not politically-oriented, like someone pointed out, it's part
>of life & is tough to avoid that sort of thing from time to
>time in an unmoderated setting. It's even tougher to try &
>take those threads over to another section of the group,
>because once you see a post that you feel compelled to respond
>to it's kinda like golf... you gotta play it where it lies :D
>
>Anyway, thanks to everyone for a mostly civil tone... that's a
>personal thanks to the people I was engaged in conversation
>with this was a lot better than some threads I've seen here in
>my time on this NG.
>
>"And, now back to your regularly-scheduled audio rants!"
>
>NeilOK, so I've been trying to finish up my 2nd CD, and there are
a couple of songs that are in various stages of completion, but
in the meanwhile I've been working on some mixes for the ones
that are finished - you guys have heard some of this stuff, I
posted links to a few tunes awhile back. An
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| Re: Bomb attacks in London England [message #55540 is a reply to message #55536] |
Mon, 11 July 2005 01:32 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
|
|
retty CPU-
intensive, so if you've got a mix going with a good number of
tracks & plugins running, you can't mix with Ozone inserted
unless your 'puter is a raging fast one. When you use one of
these stereo spread EFX in the mastering process, it affects
the mix itself; it changes everything... your reverbs sound
like you've boosted the level on them, you've got to watch your
vocals, because they can drop, anything you have in stereo gets
louder (and yes, I'm talking about even using it in very subtle
settings!). Part of the objectivity problem is that since you
mixed it, you probably percieve these changes as being more
obvious than someone who didn't mix it... so is the change good
or bad? Does it bother you because it's an obvious change to
you, or is it really OK, and actually sounds better that way?
It's hard to tell.
You've got no real solid frame of reference - Although I'm using
a different set of speakers to try the mastering process than
the ones I mixed on (again striving for some objectivity here),
it's still in the same room, which means you're still hearing
any effect the room may have on your mix in the same manner as
when you were mixing it.
Anyway... gotta go for now - maybe I'll post more on this
later; I've got some musings about compression too. lol
NeilHehe... in 1994 waiting until the Sony optical writers get to under $40,000.
;oP
....and here's me in 2005 waiting until Dual layer DVD burners get to under
$40... ;o)
Cheers,
Kim.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>http://www.rogernichols.com/EQ/EQ_94-06.html
>
>Walter Becker's CD sounded absolutely great. The stuff we're using now is
a
>bit beyond what Roger Nichols was using in 1994.
>
>When I read stuff like this, it puts things back in perspective as far as
>the *latest, greatest* toys are concerned.
>
>> last time i looked on the internet i could not find meltdown or i wanna be
> a
> clone.
Here's "Clone" on ebay for $0.99:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=47492 01965&category=306&ssPageName=WDVW&rd=1
> and yes of course the star sticker goes to Brian P. for answering the
> question correctly.
Thanks very much. I'll wear it with pride!
Brian PorickThis is a multi-part message in MIME format.
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Dedric Terry wrote:
> On 7/18/05 8:21 AM, in article 42dbba80@linux, "Jef Knight" <"Jef
> Knight"> wrote:
>
>
>>work? it's summer fer chipes sake how come y'aren't on
> unemployment drinkin' some brewskis?
>
> Not sure what summer has to do with unemployment, but here work is
> work.
>
For decades it was popular amongst certain types of people to go on
Unemployment Insurance at 3/4 of your wage and take the summer off to
drink and generally party on the gov't dole. It was a standard joke here
until they clamped down on it.
> We don't do unemployment where I'm from and I don't drink, but my
> company is doing well and the future looks pretty good if the
> world doesn't implode anytime soon.
>
Ditto, except for the drinking part. I do fancy the odd Corona.
>
> Hey, Canada has some beautiful territory. Loved Victoria when we
> last visited. Montreal is pretty cool too. Whistler/Blackcomb
> rock for skiing - had a blast there. Hope to make it back
> someday. Have a great one!
>
The landscape in one of the best parts of living here. I'm a mountain
biker. There's plenty of great terrain.
Cheers
jef
>
> Regards,
> Dedric
>
>
> On 7/17/05 6:27 PM, in article 42daf6fd@linux, "Jef Knight"
> <"Jef Knight"> wrote:
>
>
>
> The most interesting thing about USians is that, unlike
> Canadian, they are generally, uh, a tad too sensitive.
> Hey, no offence! Really! Just seem pretty prevelant.
>
> Cheers
>
> jef
>
>
>
>
>
> DC wrote:
>
>
>
> Actually, I think you are way off base here, but I
> also think it is
> silly to rate topic-quality, so I do not really care
> to engage this
> issue. I will say this; I have seen much worse, both
> here and
> on other forums, and until someone started calling
> people idiots
> and nazis, it was doing pretty well, even if you did
> not get the
> results you preferred.
>
> DC
>
>
> Jamie K <Meta@Dimensional.com>
> <mailto:Meta@Dimensional.com>
> <mailto:Meta@Dimensional.com> wrote:
>
>
>
>
>
> Unfortunately name calling was there pretty much
> from the start, and,
> with unintended irony, a bit of projection. Some
> of it has been
> entertaining yet at times appalling, like getting
> sucked into a cheesy
> reality TV show, pandering talk radio or overblown
> pro wrestling. If
> this keeps up Kim's little corner of the web will
> start getting traffic
>
>
>
>
>
>
>
>
>
>
>
> and he'll get rich on the Google ads.
>
> We've heard several points of view but nothing
> like the whole picture. A
>
>
>
>
>
>
>
>
>
>
>
> certain amount of people talking past each other,
> answering arguments
> not made, ignoring arguments made, knocking down
> straw men invented.
> Battles of mythology, parroting of talking points,
> misuse or lack of
> data, and blind superior certainty. In short, a
> typical internet
> political discussion.
>
> And yet a certain amount of listening, that part
> is always encouraging.
>
> Cheers,
> -Jamie K
> http://www.JamieKrutz.com
>
>
> DC wrote:
>
>
>
>
>
> You guys are right. I think both sides have
> been adequately
> represented, I think both arguments have been
> well-made.
> I think everyone has made their minds up at
> this point. Hostility
> and name-calling is creeping in to what was a
> pretty darn
> civilized discussion. It's quickly becoming
> pointless.
>
>
> I am tracking a hard rock tune of mine and
> need to get back to work and
>
>
>
>
>
>
>
>
> this
>
|
|
|
|
|
|
| Re: Bomb attacks in London England [message #55543 is a reply to message #55521] |
Mon, 11 July 2005 06:00 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
amp;nbsp; <br>
<br>
<br>
</span> </blockquote>
<span> <br>
<br>
<br>
<br>
<br>
</span>
<blockquote> <span> <br>
certain amount of people talking past each other, answering arguments <br>
not made, ignoring arguments made, knocking down straw men invented. <br>
Battles of mythology, parroting of talking points, misuse or lack of <br>
data, and blind superior certainty. In short, a typical internet <br>
political discussion.<br>
<br>
And yet a certain amount of listening, that part is always encouraging.<br>
<br>
Cheers,<br>
-Jamie K<br>
<a href="http://www.JamieKrutz.com">http://www.JamieKrutz.com</a><br>
<br>
<br>
DC wrote:<br>
<br>
<br>
<br>
</span>
<blockquote> <span> <br>
You guys are right. I think both sides have been adequately<br>
represented, I think both arguments have been well-made.<br>
I think everyone has made their minds up at this point. Hostility <br>
and name-calling is creeping in to what was a pretty darn <br>
civilized discussion. It's quickly becoming pointless.<br>
<br>
<br>
I am tracking a hard rock tune of mine and need to get back to work and<br>
<br>
<br>
<br>
</span> </blockquote>
<span> <br>
<br>
</span> </blockquote>
<span> <br>
this<br>
<br>
<br>
<br>
</span>
<blockquote> <span> <br>
<br>
</span>
<blockquote> <span> <br>
really isn't the place for this discussion. If you want to <br>
email me privately, I will discuss it further, but really, we've covered<br>
<br>
the subject, don't you think?<br>
<br>
DC<br>
<br>
PS, holy cow this Marshall JCM2000 sounds cool cranked up!<br>
Unfortunately, you can hear it down at the stop light when I do<br>
that... grrrr... Why can't the modelers sound like that?<br>
<br>
<br>
<br>
<br>
</span> </blockquote>
<span> <br>
<br>
</span> </blockquote>
<span> <br>
<br>
<br>
<br>
</span> </blockquote>
<span> <br>
<br>
<br>
</span> </blockquote>
<span> <br>
<br>
</span> </blockquote>
<span><br>
<br>
</span> </blockquote>
<span><br>
</span> </blockquote>
<br>
</body>
</html>
--------------070405030105080103050403--This is a multi-part message in MIME format.
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Neil,
Sounds like you have a good handle on the issues.
I agree with everything you pointed out. I'm am very
interested in how Ozone performs for you. Keep
us updated!
Tom
"Neil" <OIUOIU@OIU.com> wrote in message news:42dcfdaa$1@linux...
OK, so I've been trying to finish up my 2nd CD, and there are
a couple of songs that are in various stages of completion, but
in the meanwhile I've been working on some mixes for the ones
that are finished - you guys have heard some of this stuff, I
posted links to a few tunes awhile back. Anyway I thought I'd
try mastering this stuff myself - not because I think I can do
a better job of it than a regular mastering engineer, but
mainly just because I wanted to see if I could make it turn out
the way I wanted it, and also be able to take the time to tweak
as much as I liked - so to that end, some of you may recall
that I picked up the Izotope Ozone app awhile back. Some
observations on trying to master something that one has
recorded oneself:
*You've got no objectivity - even if you leave the song alone &
don't listen to it for awhile before attmepting a mastering
session, when you come back to it, you invariably are
influenced by what you've already done in the mix. One one
hand, this could be a good thing, becasue you more than anyone
else know where you want to go with the song, but it's also a
bad thing because in my case, I seem to want to enhance what
I've got, rather than making any subtle changes that could
present a different, perhaps better, picture.
*Expanded soundstages - There are a number of apps that can/will
widen the stereo field... back in the late early 90's I did
quite a number of mixes using the Bedini Audio Spatial
Environment, and wehn I planned on using it I ALWAYS mixed with
it inserted & "on". This was the only way I could mix & ensure
that I knew what I was getting - boy, was it easy to "find the
pocket" for just about any element in the mix using that box.
Ozone has a stereo spread section, and it's very cool because
it's multi-band, but the problem is, Ozone is pretty CPU-
intensive, so if you've got a mix going with a good number of
tracks & plugins running, you can't mix with Ozone inserted
unless your 'puter is a raging fast one. When you use one of
these stereo spread EFX in the mastering process, it affects
the mix itself; it changes everything... your reverbs sound
like you've boosted the level on them, you've got to watch your
vocals, because they can drop, anything you have in stereo gets
louder (and yes, I'm talking about even using it in very subtle
settings!). Part of the objectivity problem is that since you
mixed it, you probably percieve these changes as being more
obvious than someone who didn't mix it... so is the change good
or bad? Does it bother you because it's an obvious change to
you, or is it really OK, and actually sounds better that way?
It's hard to tell.
You've got no real solid frame of reference - Although I'm using
a different set of speakers to try the mastering process than
the ones I mixed on (again striving for some objectivity here),
it's still in the same room, which means you're still hearing
any effect the room may have on your mix in the same manner as
when you were mixing it.
Anyway... gotta go for now - maybe I'll post more on this
later; I've got some musings about compression too. lol
Neil
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Neil,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Sounds like you have a good handle on =
the=20
issues.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I agree with everything you pointed =
out. I'm=20
am very</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>interested in how Ozone performs for =
you. =20
Keep</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>us updated!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Neil" <<A =
href=3D"mailto:OIUOIU@OIU.com">OIUOIU@OIU.com</A>> wrote=20
in message <A=20
=
href=3D"news:42dcfdaa$1@linux">news:42dcfdaa$1@linux</A>...</DIV><BR>OK, =
so I've=20
been trying to finish up my 2nd CD, and there are<BR>a couple of songs =
that=20
are in various stages of completion, but<BR>in the meanwhile I've been =
working=20
on some mixes for the ones<BR>that are finished - you guys have heard =
some of=20
this stuff, I<BR>posted links to a few tunes awhile back. Anyway I =
thought=20
I'd<BR>try mastering this stuff myself - not because I think I can =
do<BR>a=20
better job of it than a regular mastering engineer, but<BR>mainly just =
because=20
I wanted to see if I could make it turn out<BR>the way I wanted it, =
and also=20
be able to take the time to tweak<BR>as much as I liked - so to that =
end, some=20
of you may recall<BR>that I picked up the Izotope Ozone app awhile =
back.=20
Some<BR>observations on trying to master something that one =
has<BR>recorded=20
oneself:<BR><BR>*You've got no objectivity - even if you leave the =
song alone=20
&<BR>don't listen to it for awhile before attmepting a=20
mastering<BR>session, when you come back to it, you invariably=20
are<BR>influenced by what you've already done in the mix. One =
one<BR>hand,=20
this could be a good thing, becasue you more than anyone<BR>else know =
where=20
you want to go with the song, but it's also a<BR>bad thing because in =
my case,=20
I seem to want to enhance what<BR>I've got, rather than making any =
subtle=20
changes that could<BR>present a different, perhaps better,=20
picture.<BR><BR>*Expanded soundstages - There are a number of apps =
that=20
can/will<BR>widen the stereo field... back in the late early 90's I=20
did<BR>quite a number of mixes using the Bedini Audio =
Spatial<BR>Environment,=20
and wehn I planned on using it I ALWAYS mixed with<BR>it inserted =
& "on".=20
This was the only way I could mix & ensure<BR>that I knew what I =
was=20
getting - boy, was it easy to "find the<BR>pocket" for just about any =
element=20
in the mix using that box.<BR>Ozone has a stereo spread section, and =
it's very=20
cool because<BR>it's multi-band, but the problem is, Ozone is pretty=20
CPU-<BR>intensive, so if you've got a mix going with a good number=20
of<BR>tracks & plugins running, you can't mix with Ozone=20
inserted<BR>unless your 'puter is a raging fast one. When you use one=20
of<BR>these stereo spread EFX in the mastering process, it =
affects<BR>the mix=20
itself; it changes everything... your reverbs sound<BR>like you've =
boosted the=20
level on them, you've got to watch your<BR>vocals, because they can =
drop,=20
anything you have in stereo gets<BR>louder (and yes, I'm talking about =
even=20
using it in very subtle<BR>settings!). Part of the objectivity problem =
is that=20
since you<BR>mixed it, you probably percieve these changes as being=20
more<BR>obvious than someone who didn't mix it... so is the change =
good<BR>or=20
bad? Does it bother you because it's an obvious change to<BR>you, or =
is it=20
really OK, and actually sounds better that way?<BR>It's hard to=20
tell.<BR><BR>You've got no real solid frame of reference - Although =
I'm=20
using<BR>a different set of speakers to try the mastering process =
than<BR>the=20
ones I mixed on (again striving for some objectivity here),<BR>it's =
still in=20
the same room, which means you're still hearing<BR>any effect the room =
may=20
have on your mix in the same manner as<BR>when you were mixing=20
it.<BR><BR>Anyway... gotta go for now - maybe I'll post more on =
this<BR>later;=20
I've got some musings about compression too. =20
lol<BR><BR>Neil</BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0022_01C58C48.706B95C0--for me it's the $.99 whopper...sigh...
On 19 Jul 2005 23:19:03 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Hehe... in 1994 waiting until the Sony optical writers get to under $40,000.
>;oP
>
>...and here's me in 2005 waiting until Dual layer DVD burners get to under
>$40... ;o)
>
>Cheers,
>Kim.
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>http://www.rogernichols.com/EQ/EQ_94-06.html
>>
>>Walter Becker's CD sounded absolutely great. The stuff we're using now is
>a
>>bit beyond what Roger Nichols was using in 1994.
>>
>>When I read stuff like this, it puts things back in perspective as far as
>>the *latest, greatest* toys are concerned.
>>
>>This is a multi-part message in MIME format.
------=_NextPart_000_0009_01C58C3C.F8D59340
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charset="iso-8859-1"
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My *better half* in the mid 70's was from Simcoe Ontario. She and her =
friends had some kind of situation going where they would all show up at =
my doorstep in Texas in mid October and we'd all head on down to Mexico =
together. I was always jealous because I would be living on my savings =
until sometime in May, while they were getting checks from home. I was =
always thinking that this was too good to be true and wishing I was =
getting free money too.
;o)
"Jef Knight" <"Jef Knight"> wrote in message news:42dd05dc@linux...
Dedric Terry wrote:=20
On 7/18/05 8:21 AM, in article 42dbba80@linux, "Jef Knight" <"Jef =
Knight"> wrote:
>work? it's summer fer chipes sake how come y'aren't on =
unemployment drinkin' some brewskis?
Not sure what summer has to do with unemployment, but here work is =
work. =20
For decades it was popular amongst certain types of people to go on =
Unemployment Insurance at 3/4 of your wage and take the summer off to =
drink and generally party on the gov't dole. It was a standard joke here =
until they clamped down on it.
We don't do unemployment where I'm from and I don't drink, but my =
company is doing well and the future looks pretty good if the world =
doesn't implode anytime soon.
Ditto, except for the drinking part. I do fancy the odd Corona.
Hey, Canada has some beautiful territory. Loved Victoria when we =
last visited. Montreal is pretty cool too. Whistler/Blackcomb rock for =
skiing - had a blast there. Hope to make it back someday. Have a great =
one! =20
The landscape in one of the best parts of living here. I'm a mountain =
biker. There's plenty of great terrain.=20
Cheers
jef
Regards,
Dedric
On 7/17/05 6:27 PM, in article 42daf6fd@linux, "Jef Knight" =
<"Jef Knight"> wrote:
=20
The most interesting thing about USians is that, unlike =
Canadian, they are generally, uh, a tad too sensitive.=20
Hey, no offence! Really! Just seem pretty prevelant.
=20
Cheers
=20
jef
=20
=20
=20
=20
=20
DC wrote:
=20
Actually, I think you are way off base here, but I also =
think it is
silly to rate topic-quality, so I do not really care to =
engage this
issue. I will say this; I have seen much worse, both here =
and
on other forums, and until someone started calling people =
idiots
and nazis, it was doing pretty well, even if you did not get =
the=20
results you preferred.
=20
DC
=20
=20
Jamie K <Meta@Dimensional.com> <mailto:Meta@Dimensional.com> =
<mailto:Meta@Dimensional.com> wrote:
=20
=20
=20
Unfortunately name calling was there pretty much from the =
start, and,=20
with unintended irony, a bit of projection. Some of it has =
been=20
entertaining yet at times appalling, like getting sucked =
into a cheesy=20
reality TV show, pandering talk radio or overblown pro =
wrestling. If=20
this keeps up Kim's little corner of the web will start =
getting traffic
=20
=20
=20
=20
=20
=20
=20
=20
and he'll get rich on the Google ads.
=20
We've heard several points of view but nothing like the =
whole picture. A
=20
=20
=20
=20
=20
=20
=20
=20
certain amount of people talking past each other, =
answering arguments=20
not made, ignoring arguments made, knocking down straw men =
invented.=20
Battles of mythology, parroting of talking points, misuse =
or lack of=20
data, and blind superior certainty. In short, a typical =
internet=20
political discussion.
=20
And yet a certain amount of listening, that part is always =
encouraging.
=20
Cheers,
-Jamie K
http://www.JamieKrutz.com
=20
=20
DC wrote:
=20
=20
=20
You guys are right. I think both sides have been =
adequately
represented, I think both arguments have been well-made.
I think everyone has made their minds up at this point. =
Hostility=20
and name-calling is creeping in to what was a pretty =
darn=20
civilized discussion. It's quickly becoming pointless.
=20
=20
I am tracking a hard rock tune of mine and need to get =
back to work and
=20
=20
=20
=20
=20
=20
this
=20
=20
=20
=20
really isn't the place for this discussion. If you =
want to=20
email me privately, I will discuss it further, but =
really, we've covered
=20
the subject, don't you think?
=20
DC
=20
PS, holy cow this Marshall JCM2000 sounds cool cranked =
up!
Unfortunately, you can hear it down at the stop light =
when I do
that... grrrr... Why can't the modelers sound like =
that?
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
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<HTML><HEAD><TITLE></TITLE>
<META http-equiv=3DContent-Type =
content=3Dtext/html;charset=3DISO-8859-1>
<META content=3D"MSHTML 6.00.2800.1106" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY text=3D#000000 bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>My *better half* in the mid 70's was =
from Simcoe=20
Ontario. She and her friends had some kind of situation going where they =
would=20
all show up at my doorstep
|
|
|
|
| Re: Bomb attacks in London England [message #55545 is a reply to message #55534] |
Mon, 11 July 2005 07:43 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
mp;lt;"Jef Knight"> wrote:<BR></SPAN>
<BLOCKQUOTE>
<BLOCKQUOTE><SPAN><BR></SPAN></BLOCKQUOTE><SPAN>>work? it's =
summer fer=20
chipes sake how come y'aren't on unemployment drinkin' some=20
brewskis?<BR><BR>Not sure what summer has to do with unemployment, =
but=20
here work is work. <BR></SPAN></BLOCKQUOTE></BLOCKQUOTE>For =
decades it=20
was popular amongst certain types of people to go on Unemployment =
Insurance at=20
3/4 of your wage and take the summer off to drink and generally party =
on the=20
gov't dole. It was a standard joke here until they clamped down on =
it.<BR>
<BLOCKQUOTE cite=3DmidBF012268.30D0%25dedric@keyofd.net type=3D"cite">
<BLOCKQUOTE><SPAN>We don=92t do unemployment where I=92m from and I =
don=92t=20
drink, but my company is doing well and the future looks pretty =
good if=20
the world doesn=92t implode anytime=20
soon.<BR></SPAN></BLOCKQUOTE></BLOCKQUOTE>Ditto, except for the =
drinking part.=20
I do fancy the odd Corona.<BR>
<BLOCKQUOTE cite=3DmidBF012268.30D0%25dedric@keyofd.net type=3D"cite">
<BLOCKQUOTE><SPAN></SPAN>
<BLOCKQUOTE><SPAN><BR></SPAN></BLOCKQUOTE><SPAN>Hey, Canada has =
some=20
beautiful territory. Loved Victoria when we last visited.=20
Montreal is pretty cool too. Whistler/Blackcomb rock =
for=20
skiing =96 had a blast there. Hope to make it back someday. =
Have=20
a great one! <BR></SPAN></BLOCKQUOTE></BLOCKQUOTE>The =
landscape in one=20
of the best parts of living here. I'm a mountain biker. There's plenty =
of=20
great terrain. <BR><BR>Cheers<BR>jef<BR>
<BLOCKQUOTE cite=3DmidBF012268.30D0%25dedric@keyofd.net type=3D"cite">
<BLOCKQUOTE><SPAN><BR>Regards,<BR>Dedric<BR><BR></SPAN >
<BLOCKQUOTE><SPAN><BR>On 7/17/05 6:27 PM, in article =
42daf6fd@linux,=20
"Jef Knight" <"Jef Knight"> =
wrote:<BR> <BR></SPAN>
<BLOCKQUOTE><SPAN><BR>The most interesting thing about USians is =
that,=20
unlike Canadian, they are generally, uh, a tad too sensitive. =
<BR>Hey,=20
no offence! Really! Just seem pretty=20
=
prevelant.<BR> <BR>Cheers<BR> <BR>jef <BR> <BR> <BR>&n=
bsp;<BR> <BR> <BR>DC=20
wrote:<BR> <BR></SPAN>
<BLOCKQUOTE><SPAN><BR>Actually, I think you are way off base =
here,=20
but I also think it is<BR>silly to rate topic-quality, so I =
do not=20
really care to engage this<BR>issue. I will say this; =
I have=20
seen much worse, both here and<BR>on other forums, and until =
someone=20
started calling people idiots<BR>and nazis, it was doing =
pretty=20
well, even if you did not get the <BR>results you=20
preferred.<BR> <BR>DC<BR> <BR> <BR>Jamie K <A =
class=3Dmoz-txt-link-rfc2396E=20
=
href=3D"mailto:Meta@Dimensional.com"><Meta@Dimensional.com></A>=20
<A=20
=
href=3D"mailto:Meta@Dimensional.com"><mailto:Meta@Dimensional.com><=
/A>=20
<A=20
=
href=3D"mailto:Meta@Dimensional.com"><mailto:Meta@Dimensional.com><=
/A>=20
=
wrote:<BR> <BR> <BR > <BR></SPAN>
<BLOCKQUOTE><SPAN><BR>Unfortunately name calling was there =
pretty=20
much from the start, and, <BR>with unintended irony, a bit =
of=20
projection. Some of it has been <BR>entertaining yet at =
times=20
appalling, like getting sucked into a cheesy <BR>reality =
TV show,=20
pandering talk radio or overblown pro wrestling. If =
<BR>this keeps=20
up Kim's little corner of the web will start getting=20
=
traffic<BR> <BR> <BR> <BR></SPAN><=
/BLOCKQUOTE><SPAN> <BR> <BR> <BR> <BR> &nb=
sp;<BR></SPAN>
<BLOCKQUOTE><SPAN><BR>and he'll get rich on the Google=20
ads.<BR> <BR>We've heard several points of view but =
nothing=20
like the whole picture.=20
=
A<BR> <BR> <BR> <BR></SPAN></BLOCK=
QUOTE><SPAN> <BR> <BR> <BR> <BR> <BR=
></SPAN>
<BLOCKQUOTE><SPAN><BR>certain amount of people talking past =
each=20
other, answering arguments <BR>not made, ignoring =
arguments made,=20
knocking down straw men invented. <BR>Battles of =
mythology,=20
parroting of talking points, misuse or lack of <BR>data, =
and blind=20
superior certainty. In short, a typical internet =
<BR>political=20
discussion.<BR> <BR>And yet a certain amount of =
listening,=20
that part is always=20
encouraging.<BR> <BR>Cheers,<BR> -Jamie =
K<BR> <A=20
=
href=3D"http://www.JamieKrutz.com">http://www.JamieKrutz.com</A><BR> =
;<BR> <BR>DC=20
=
wrote:<BR> <BR> <BR> <BR></SPAN>
<BLOCKQUOTE><SPAN><BR>You guys are right. I =
think=20
both sides have been adequately<BR>represented, I think =
both=20
arguments have been well-made.<BR>I think everyone has =
made=20
their minds up at this point. Hostility <BR>and=20
name-calling is creeping in to what was a pretty darn=20
<BR>civilized discussion. It's quickly becoming=20
pointless.<BR> <BR> <BR>I am tracking a hard =
rock tune=20
of mine and need to get back to work=20
=
and<BR> <BR> <BR> <BR>=
</SPAN></BLOCKQUOTE><SPAN> <BR> <BR></SPAN></BLOCKQUOTE><=
SPAN> <BR>this<BR> <BR> <BR> <BR></SPAN>
<BLOCKQUOTE><SPAN><BR> <BR></SPAN>
<BLOCKQUOTE><SPAN><BR>really isn't the place for this=20
discussion. If you want to <BR>email me =
privately, I=20
will discuss it further, but really, we've=20
covered<BR> <BR>the subject, don't you=20
think?<BR> <BR>DC<BR> <BR>PS, holy cow this =
Marshall=20
JCM2000 sounds cool cranked up!<BR>Unfortunately, you =
can hear=20
it down at the stop light when I do<BR>that...=20
grrrr... Why can't the =
modelers=20
sound like=20
=
that?<BR> <BR> <BR> <BR>&nbs=
p; <BR></SPAN></BLOCKQUOTE><SPAN> <BR > <BR></SPAN></=
BLOCKQUOTE><SPAN> <BR> <BR> <BR> <BR></SP=
AN></BLOCKQUOTE><SPAN><BR> <BR> <BR></SPAN></BLOCKQUOTE><=
SPAN><BR> <BR></SPAN></BLOCKQUOTE><SPAN ><BR><BR></SPAN></BLOCK=
QUOTE><SPAN><BR></SPAN></BLOCKQUOTE><BR></BLOCKQUOTE></BODY ></HTML>
------=_NextPart_000_0009_01C58C3C.F8D59340--The mixes of mine that I've had success with are projects that I did in the
other incarnations of my studio on different monitors and in different
rooms. When I'm *mastering* mixes of projects I'm doing here, it involves
little more than matching levels and trimming up the beginnings and
ends............and *maybe* a touch *loud* if the client wants it (which is
seldom the case with the genre I'm normally involved in here)..........so
why would I want to come back and change the equalization/balance that I
worked so hard to achieve in a mix? Much better to have another set of
experienced ears to make these judgment calls. I'm not likely to want to
second guess myself on an entire project.
;o)
"Neil" <OIUOIU@OIU.com> wrote in message news:42dcfdaa$1@linux...
>
> OK, so I've been trying to finish up my 2nd CD, and there are
> a couple of songs that are in various stages of completion, but
> in the meanwhile I've been working on some mixes for the ones
> that are finished - you guys have heard some of this stuff, I
> posted links to a few tunes awhile back. Anyway I thought I'd
> try mastering this stuff myself - not because I think I can do
> a better job of it than a regular mastering engineer, but
> mainly just because I wanted to see if I could make it turn out
> the way I wanted it, and also be able to take the time to tweak
> as much as I liked - so to that end, some of you may recall
> that I picked up the Izotope Ozone app awhile back. Some
> observations on trying to master something that one has
> recorded oneself:
>
> *You've got no objectivity - even if you leave the song alone &
> don't listen to it for awhile before attmepting a mastering
> session, when you come back to it, you invariably are
> influenced by what you've already done in the mix. One one
> hand, this could be a good thing, becasue you more than anyone
> else know where you want to go with the song, but it's also a
> bad thing because in my case, I seem to want to enhance what
> I've got, rather than making any subtle changes that could
> present a different, perhaps better, picture.
>
> *Expanded soundstages - There are a number of apps that can/will
> widen the stereo field... back in the late early 90's I did
> quite a number of mixes using the Bedini Audio Spatial
> Environment, and wehn I planned on using it I ALWAYS mixed with
> it inserted & "on". This was the only way I could mix & ensure
> that I knew what I was getting - boy, was it easy to "find the
> pocket" for just about any element in the mix using that box.
> Ozone has a stereo spread section, and it's very cool because
> it's multi-band, but the problem is, Ozone is pretty CPU-
> intensive, so if you've got a mix going with a good number of
> tracks & plugins running, you can't mix with Ozone inserted
> unless your 'puter is a raging fast one. When you use one of
> these stereo spread EFX in the mastering process, it affects
> the mix itself; it changes everything... your reverbs sound
> like you've boosted the level on them, you've got to watch your
> vocals, because they can drop, anything you have in stereo gets
> louder (and yes, I'm talking about even using it in very subtle
> settings!). Part of the objectivity problem is that since you
> mixed it, you probably percieve these changes as being more
> obvious than someone who didn't mix it... so is the change good
> or bad? Does it bother you because it's an obvious change to
> you, or is it really OK, and actually sounds better that way?
> It's hard to tell.
>
> You've got no real solid frame of reference - Although I'm using
> a different set of speakers to try the mastering process than
> the ones I mixed on (again striving for some objectivity here),
> it's still in the same room, which means you're still hearing
> any effect the room may have on your mix in the same manner as
> when you were mixing it.
>
> Anyway... gotta go for now - maybe I'll post more on this
> later; I've got some musings about compression too. lol
>
> NeilWell.......I apologize for losing my temper.........which I definitely did.
;o(
"Kim" <hiddensounds@hotmail.com> wrote in message news:42dcfd1b@linux...
>
>
> Indeed, I second that.
>
> For a bit there I was planning to move the threads over to General, but I
> ended up letting them stay as for the most part people were being
respectful
> and actually exchanging info.
>
> I'd still prefer these threads were kept in the general group. I think
that's
> best all round, but of course sometimes discussions aren't planned and a
> thread just diverts off.
>
> Generally though I think things were handled well, and though I agree with
> Don that it's pretty seldom if ever that someone's fundamental position
changes
> in such a talk, I do beleive that, with respectful informed discussion,
that
> over time people will become better educated as well as better thinkers.
>
> I think if we acheive those two things we're doing well, and I think
overall
> these recent discussions were probably a step in that direction.
>
> But anyhow, this is an audio group, so let's all forget the politics and
> focus on my NEW DAW BOX SHALL WE? ;o)
>
> Cheers,
> Kim.
>
>
> "Neil" <OIUOIU@OIU.com> wrote:
> >
> >..i'd like to thank everyone for some spirited & lively, yet
> >respectful (for the most part), conversation. While I know it's
> >frustrating to have political threads on ANY newsgroup that's
> >not politically-oriented, like someone pointed out, it's part
> >of life & is tough to avoid that sort of thing from time to
> >time in an unmoderated setting. It's even tougher to try &
> >take those threads over to another section of the group,
> >because once you see a post that you feel compelled to respond
> >to it's kinda like golf... you gotta play it where it lies :D
> >
> >Anyway, thanks to everyone for a mostly civil tone... that's a
> >personal thanks to the people I was engaged in conversation
> >with this was a lot better than some threads I've seen here in
> >my time on this NG.
> >
> >"And, now back to your regularly-scheduled audio rants!"
> >
> >Neil
>Hey guys, just getting back into town from a another stint with Will Downing.
This past weekend we were in California for the Pasadena Jazz festival. It
was a really cool hit as well as a great opportunity to spend some time with
other colleagues that I've worked with as well as those that I enjoy listening
to.
We were brought on by comedian Sinbad...he's still got it! I also saw Jonathan
Butler, Brian Culbertson, Richard Elliot, Rick Braun and even Evelyn "Champaign"
King.
We followed that up with a night in Las Vegas (116 degrees) at the Las Vegas
Hilton with R&B crooner Kem. Although I'm not a gambler, I walked away with
some additional funding from a "one arm bandit", so suffice it to say, I
had a great trip.
TyroneBeen there too. I also have Ozone (and others) and agree with your Expanded
soundstages findings - it changes every thing somewhat; and yea it really
eats CPU. Can you describe the Bedini Audio Spatial box more?
>!!
"Neil" <OIUOIU@OIU.com> wrote:
>
>OK, so I've been trying to finish up my 2nd CD, and there are
>a couple of songs that are in various stages of completion, but
>in the meanwhile I've been working on some mixes for the ones
>that are finished - you guys have heard some of this stuff, I
>posted links to a few tunes awhile back. Anyway I thought I'd
>try mastering this stuff myself - not because I think I can do
>a better job of it than a regular mastering engineer, but
>mainly just because I wanted to see if I could make it turn out
>the way I wanted it, and also be able to take the time to tweak
>as much as I liked - so to that end, some of you may recall
>that I picked up the Izotope Ozone app awhile back. Some
>observations on trying to master something that one has
>recorded oneself:
>
>*You've got no objectivity - even if you leave the song alone &
>don't listen to it for awhile before attmepting a mastering
>session, when you come back to it, you invariably are
>influenced by what you've already done in the mix. One one
>hand, this could be a good thing, becasue you more than anyone
>else know where you want to go with the song, but it's also a
>bad thing because in my case, I seem to want to enhance what
>I've got, rather than making any subtle changes that could
>present a different, perhaps better, picture.
>
>*Expanded soundstages - There are a number of apps that can/will
>widen the stereo field... back in the late early 90's I did
>quite a number of mixes using the Bedini Audio Spatial
>Environment, and wehn I planned on using it I ALWAYS mixed with
>it inserted & "on". This was the only way I could mix & ensure
>that I knew what I was getting - boy, was it easy to "find the
>pocket" for just about any element in the mix using that box.
>Ozone has a stereo spread section, and it's very cool because
>it's multi-band, but the problem is, Ozone is pretty CPU-
>intensive, so if you've got a mix going with a good number of
>tracks & plugins running, you can't mix with Ozone inserted
>unless your 'puter is a raging fast one. When you use one of
>these stereo spread EFX in the mastering process, it affects
>the mix itself; it changes everything... your reverbs sound
>like you've boosted the level on them, you've got to watch your
>vocals, because they can drop, anything you have in stereo gets
>louder (and yes, I'm talking about even using it in very subtle
>settings!). Part of the objectivity problem is that since you
>mixed it, you probably percieve these changes as being more
>obvious than someone who didn't mix it... so is the change good
>or bad? Does it bother you because it's an obvious change to
>you, or is it really OK, and actually sounds better that way?
>It's hard to tell.
>
>You've got no real solid frame of reference - Although I'm using
>a different set of speakers to try the mastering process than
>the ones I mixed on (again striving for some objectivity here),
>it's still in the same room, which means you're still hearing
>any effect the room may have on your mix in the same manner as
>when you were mixing it.
>
>Anyway... gotta go for now - maybe I'll post more on this
>later; I've got some musings about compression too. lol
>
>Neildid you get my email? i might have sent it to the wrong address? please let
me know...
david@harvelles.comand i get a dog with 3 legs...where's the fairness? glad to here all
is going so well.
;o)
On 20 Jul 2005 02:23:23 +1000, "Tyrone Corbett"
<tyronecorbett@comcast.net> wrote:
>
>Hey guys, just getting back into town from a another stint with Will Downing.
>This past weekend we were in California for the Pasadena Jazz festival. It
>was a really cool hit as well as a great opportunity to spend some time with
>other colleagues that I've worked with as well as those that I enjoy listening
>to.
>
>We were brought on by comedian Sinbad...he's still got it! I also saw Jonathan
>Butler, Brian Culbertson, Richard Elliot, Rick Braun and even Evelyn "Champaign"
>King.
>
>We followed that up with a night in Las Vegas (116 degrees) at the Las Vegas
>Hilton with R&B crooner Kem. Although I'm not a gambler, I walked away with
>some additional funding from a "one arm bandit", so suffice it to say, I
>had a great trip.
>
>Tyronebut i love it when your nostrils flair...
the drunken jackass aka mr. footballhead
On Tue, 19 Jul 2005 08:54:21 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>Well.......I apologize for losing my temper.........which I definitely did.
>
>;o(
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:42dcfd1b@linux...
>>
>>
>> Indeed, I second that.
>>
>> For a bit there I was planning to move the threads over to General, but I
>> ended up letting them stay as for the most part people were being
>respectful
>> and actually exchanging info.
>>
>> I'd still prefer these threads were kept in the general group. I think
>that's
>> best all round, but of course sometimes discussions aren't planned and a
>> thread just diverts off.
>>
>> Generally though I think things were handled well, and though I agree with
>> Don that it's pretty seldom if ever that someone's fundamental
|
|
|
|
| Re: Bomb attacks in London England [message #55550 is a reply to message #55543] |
Mon, 11 July 2005 10:36 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
ank">daniel_burne@yahooNOSPAM.com> wrote in message
>news:42de84ca$1@linux...
>>
>> Hi,
>>
>> In short - comments on $400-700 multichannel mic pre's - e.g.
>> Focusrite Octopre
>> Focusrite Octopre LE
>> Presonus Digimax LT
>> Presonus MP20
>> Presonus Bluetube
>> Presonus Firepod
>> M-Audio Octane
>> dbx 386
>>
>>
>> In long... Mic pre wise at the moment I have only a Focusrite Platinum
>> Voicemaster
>> and a Soundcraft Spirit Folio Desk. I suspect the desk is the weak link
in
>> my studio, and so am after some replacement pres. The budget's limited
>> (ideally
>> $600 ish, but may be able to stretch). Ideally it would have 8 channels,
>> but some have suggested I'd be better buying a decent 2 (or 4) channel
>> unit,
>> and using the desk for the rest. That way acoustic guitar could be
>> recorded
>> with 3 mics through decent pres. I'd only need to use the desk pres for
>> extra
>> drum mics beyond the 3 channels (each instrument tracked individually).
>> It'd
>> only be worth investing the money in an 8 channel pre if they're going
to
>> be a fairly significantly better than those in the desk.
>>
>> Many thanks for any advice / suggestions.
>>
>> BTW, mic wise I'm using AT4033a's as O/Hs / Vocals / acoustic guitar,
>> C418s
>> on toms / snare top, SM57 (underneath snare), D112 kick. I *may* buy a
>> Rode
>> NTK (valve) for vocals / acoustic guitar.
>
>I'm redesigning my Paris default ppj and sorting my fx library and was wondering
if anyone would be kind enough to e-mail a ppj file or two to see if there
are any interesting tips to pick up on, fx presets, for inspiration, etc.
... It'd also be interesting to see how others are working. If there's already
a resource for this, just point me there!
Many thanks in advance,
Danhttp://www.gracedesign.com/products/faqs.htm
I'd start out there. You can probably pick up some more opinions at harmony
central and the like out on the web.
You might also hit ebay, I believe they used to have a hybrid 4 channel unit
out that I don't see in the current line up that went over pretty well in
the marketplace.
AA
"Dan B" <daniel_burne@yahoo.com> wrote in message news:42dee99c$1@linux...
>
> Thanks for the comments. I've just added the SPL Gold Mic Pre to the short
> list. I'm tempted to get the Octopre LE; or the Octopre LE with the SPL as
> well (not so good for the budget); kust the SPL or possibly the Sytek
> (alone).
> The second option would give me 10 pres, with the option of tubes on two
> of them.
>
> I guess the only worry with not buying an 8 pre unit is tracking drums
> without
> decent pres (apart from a mono Focusrite Voicemaster, I've only got
> console
> pres).
>
> What are the Grace pre's?
>
> As for the desk, I'm only using it for monitoring and for the mic pres (I
> use mic in to the direct outs straight into the paris ins, and then mix
> solely
> in Paris).
>
> Dan
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>I have worked with the 386, the firepod, the bluetube and digimaxLT ..
>>can't
>
>>recommend any of those, honestly. They all seemed to suffer from either
> QC
>>problems or just plainly didn't sound good. I'd be more inclined to steer
>
>>you towards a Grace set, less of them but better quality per buck, because
>
>>you already have generic pres in the console.
>>As to the console, are you routing the mix through it or through paris?
>>
>>AA
>>
>>
>>"Dan B" <daniel_burne@yahooNOSPAM.com> wrote in message
>>news:42de84ca$Report message to a moderator
|
|
|
|
| Re: Bomb attacks in London England [message #55554 is a reply to message #55534] |
Mon, 11 July 2005 10:56 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
>Is Wavelab gonna destroy files going from 48k to 44k?
> >
> >Doesn't Voxengo make a free sample rate convertor?
> >
> >What would be considered high end sample rate conversion.... hardware? or
> >software?
> >
> >hmmmm.
> >
> >Jeremy
> >
> >
> >
>"Miguel Vigil" <nospam@nospam.com> wrote:
>Kim,
>
>Don't you use a MEC i/o or 442?
Indeed... both in fact, hence for Paris I could use these for my SPDIF I/O.
The soundcard's digital I/O would be more for Wavelab, and/or for whatever
else I use the box for. I plan for the machine to have multiple boots, and
under one of them it may end up as my jukebox/media centre, hence a digital
output would allow me to run an external DAC in the future for my casual
listening... ...of course a quality DAC is kinda wasted on MP3's, but
still. ;o)
Cheers,
Kim.Howdy all.
Thought I might put my 2 cents in...
I feel you will be let down going for 8 more budget channels. I dont think
you will hear a significant quality change in relation to the spirit. A couple
of years ago, i bought a whole heap of focusrite platinum things, (Penta,
voice master, tracmaster, ect), and was quite upset when i didnt notice a
decent sonic change from my eurodesk M5000. I was trying to convince myself
that is was better.. It wasnt until i bought some more pricey solid state
class-a transformer based pres, that i noticed a better quality coming through.
I feel you should buy one or two pre's with that money, or save up for
something better. Thats a more rewarding experience.
"Dan B" <daniel_burne@yahooNOSPAM.com> wrote:
>
>Hi,
>
>In short - comments on $400-700 multichannel mic pre's - e.g.
>Focusrite Octopre
>Focusrite Octopre LE
>Presonus Digimax LT
>Presonus MP20
>Presonus Bluetube
>Presonus Firepod
>M-Audio Octane
>dbx 386
>
>
>In long... Mic pre wise at the moment I have only a Focusrite Platinum Voicema
|
|
|
|
| Re: Bomb attacks in London England [message #55559 is a reply to message #55540] |
Mon, 11 July 2005 12:21 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
as extra pres for snare bottom
>and as a talk back and things like that. I have since discovered that it
>sounds really nice. I had to trac a scratch acoustic while working paris
>thinking I'd replace it..no way, it is sweet and musical. Since then I use
>it on snare top and toms too ( I like the eq pre paris) I would not say
it
>is going to give you slammin Neve sound or whatever..but honestly, I am
sorta
>tired of that anyway.
>
>
>"Aaron Allen" <nospam@not_here.dude> wrote:
>>I have worked with the 386, the firepod, the bluetube and digimaxLT ..
can't
>
>>recommend any of those, honestly. They all seemed to suffer from either
>QC
>>problems or just plainly didn't sound good. I'd be more inclined to steer
>
>>you towards a Grace set, less of them but better quality per buck, because
>
>>you already have generic pres in the console.
>>As to the console, are you routing the mix through it or through paris?
>>
>>AA
>>
>>
>>"Dan B" <daniel_burne@yahooNOSPAM.com> wrote in message
>>news:42de84ca$1@linux...
>>>
>>> Hi,
>>>
>>> In short - comments on $400-700 multichannel mic pre's - e.g.
>>> Focusrite Octopre
>>> Focusrite Octopre LE
>>> Presonus Digimax LT
>>> Presonus MP20
>>> Presonus Bluetube
>>> Presonus Firepod
>>> M-Audio Octane
>>> dbx 386
>>>
>>>
>>> In long... Mic pre wise at the moment I have only a Focusrite Platinum
>
>>> Voicemaster
>>> and a Soundcraft Spirit Folio Desk. I suspect the desk is the weak link
>in
>>> my studio, and so am after some replacement pres. The budget's limited
>
>>> (ideally
>>> $600 ish, but may be able to stretch). Ideally it would have 8 channels,
>>> but some have suggested I'd be better buying a decent 2 (or 4) channel
>
>>> unit,
>>> and using the desk for the rest. That way acoustic guitar could be
>>> recorded
>>> with 3 mics through decent pres. I'd only need to use the desk pres for
>
>>> extra
>>> drum mics beyond the 3 channels (each instrument tracked individually).
>
>>> It'd
>>> only be worth investing the money in an 8 channel pre if they're going
>to
>>> be a fairly significantly better than those in the desk.
>>>
>>> Many thanks for any advice / suggestions.
>>>
>>> BTW, mic wise I'm using AT4033a's as O/Hs / Vocals / acoustic guitar,
>
>>> C418s
>>> on toms / snare top, SM57 (underneath snare), D112 kick. I *may* buy
a
>
>>> Rode
>>> NTK (valve) for vocals / acoustic guitar.
>>
>>
>I haven't run extensive tests with r8brain vs. CEP (Audition), but they seem
comparable - esp. triangular noise shaping in CEP. Those are my two go-to
SRCs.
Regards,
Dedric
On 7/21/05 7:15 AM, in article 42df9fd5$1@linux, "cujo"
<chris@nospamapplemanstudio.com> wrote:
>
> Better than doing it in a wave editor such as CEP?
>
>
>
> rick <parnell68@hotmail.com> wrote:
>> yell at them til they agree with you.
>left track,and check the stereo box, for native...for eds just use 2 instances
of the plug...not "linked" stereo..but it works just fine, or use the aux
section with a prefade assign.
Rod
EK Sound <spamnot.info@eksoundNO.com> wrote:
>Copy the mono track to the next track over and apply the plugin in
>stereo on the right?? track (select the stereo check box in the plugin
>window). Make sure you use the time lock tool to copy the track.
>Right click and drag will copy.
>
>David.
>
>Don Nafe wrote:
>> Hi All
>>
>> Please pardon the DUH factor
>>
>> I'm tekking a conference and making some idea notes on a mix I have to
do
>> and I want to use a stereo effect but have never done it before so...
>>
>> How does one apply stereo EDS & Native FX?
>>
>> I'm assuming you double the track and pan left and right then use two
>> instances of the plugin
>>
>> Correct?
>>
>> Don
>>
>>
>>http://www.obleek.com/iraq/index.html"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>If you can live with 4 channels, the Sytek is the ticket, IMHO.
>
>Deej
I agree completly. In my journey from Mackie to Symmetrix 202 to Sytek to
GML, the biggest quality jump was from the 202 to the Sytek. Good stuff.I've got a project coming up here that was tracked to an Akai DR 16. they
are just sending the whole unit up here and I'm probably going to want to
transfer the tracks a pair at a time from the digital outputs into a Paris
submix.
It's a recording of a live gig and there's no reference track to refer to so
it's going to be a matter of manual timeline alignment (oh joy!!)
I see a 9 pin sync port on the back called an *expansion* socket which is
for integrating with thge Akai MT8 or a remote contol. I wonder if it would
lock to ADAT sync.
Anyone ever tried this?
TIA,
Deej"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I've got a project coming up here that was tracked to an Akai DR 16. they
>are just sending the whole unit up here and I'm probably going to want to
>transfer the tracks a pair at a time from the digital outputs into a Paris
>submix.
>It's a recording of a live gig and there's no reference track to refer to
so
>it's going to be a matter of manual timeline alignment (oh joy!!)
>
>I see a 9 pin sync port on the back called an *expansion* socket which is
>for integrating with thge Akai MT8 or a remote contol. I wonder if it would
>lock to ADAT sync.
>
>Anyone ever tried this?
If I remmerb right, (I had a DR-16 before I got a Paris system)
it IS a kind of ADAT sync thang, but I don't know at all if it
will lock to Paris properly. The DR-16 CAN sync to SMPTE,
though, and also MMC... do you have anything that you could use
as a master clock to lock either of those modes together &
thereby make your job a whole shitload easier?
Deej, this might be a job for Cubase.
NeilI've got no problem working with Cubase. The DR 16 doesn't have a smpte card
though. I would think that the 9 pin port would be a receiver since it's for
a remote control. Icf it doesn't lock to Paris, I'll try it with Cubase and
one of my RME cards. Can't think of any other way to do it. The (127) page
manual will be shipped with it so after an RTFM interlude, maybe I can get
my head around this. It looks like a pretty cool recording device.
Thanks,
Deej
"Neil" <OIUOIU@OIU.com> wrote in message news:42e05f18$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >I've got a project coming up here that was tracked to an Akai DR 16. they
> >are just sending the whole unit up here and I'm probably going to want to
> >transfer the tracks a pair at a time from the digital outputs into a
Paris
> >submix.
> >It's a recording of a live gig and there's no reference track to refer to
> so
> >it's going to be a matter of manual timeline alignment (oh joy!!)
> >
> >I see a 9 pin sync port on the back called an *expansion* socket which is
> >for integrating with thge Akai MT8 or a remote contol. I wonder if it
would
> >lock to ADAT sync.
> >
> >Anyone ever tried this?
>
> If I remmerb right, (I had a DR-16 before I got a Paris system)
> it IS a kind of ADAT sync thang, but I don't know at all if it
> will lock to Paris properly. The DR-16 CAN sync to SMPTE,
> though, and also MMC... do you have anything that you could use
> as a master clock to lock either of those modes together &
> thereby make your job a whole shitload easier?
>
> Deej, this might be a job for Cubase.
>
> Neil"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I've got no problem working with Cubase. The DR 16 doesn't have a smpte
card
>though. I would think that the 9 pin port would be a receiver since it's
for
>a remote control. Icf it doesn't lock to Paris, I'll try it with Cubase
and
>one of my RME cards. Can't think of any other way to do it. The (127) page
>manual will be shipped with it so after an RTFM interlude, maybe I can get
>my head around this. It looks like a pretty cool recording device.
Ahh.. the SMPTE card was an option on that, IIRC - the one I
owned had one.
As far as a recording device, it's pretty handy for certain
things, but I didn't like the convertors, personally.
Let me know if I can help - if you're hacing trouble, maybe
send me a .jpg shot of the back panel & it could refresh my
memory as to the connections, etc... does that particular unit
have the BNC connections, do you know?
NeilIf you cannot time sync it, do yourself a HUGE favor and put in a two pop at
the very very top of the tracks across all the tracks at the same time in a
dead space before you start transferring, then again at the end.
AA
<neil OIUOIU.OIU.com
|
|
|
|
| Re: Bomb attacks in London England [message #55564 is a reply to message #55519] |
Mon, 11 July 2005 16:04 |
Jamie K
Messages: 1115
Registered: July 2006
|
Senior Member |
|
|
d, ad some
attack and a tiny bit of bottom,
Of course this depends on the music..I am not big on huge toms.
That guitar I tracked on a tune a a scratch was done with me infront of
the monitors with a little AT mic and no eq, I had no noise problems at all
"Dan B" <daniel_burne@yahoo.com> wrote:
>
>Hi Cujo,
>
>That's reassuring. The Spirit stuff definitely has suprisingly sweet eq
for
>the price. Presumably the same pres in the Racpac as the SX (ultramic).
I
>find them a bit noisy, especially when turned up. That said, for drums you
>rarely need a lot of gain. What kind of eq are you tracking with (especially
>on toms)? I'm usually track with no effects or eq, but my toms often sound
>a bit weak with the C418s clip on mics... Advice appreciated.
>
>I figure that most listeners won't notice the difference between the spirit
>pres and a platinum focusrite... except possibly on guitars and vocals.
So
>I may supplement my mono Focusrite Voicemaster with a SPL Gold Mic stereo
>channel (c.$550) for overheads, acoustic guitar and vocals (and to amplify
>my Redeye passive di for guitar).
>
>Thanks for all the advice.
>
>Dan
>
>"cujo" <chris@nospamapplemanstudio.com> wrote:
>>
>>I must agree tht the digimax sounds bad. I mixed a tune that another guy
>recorded
>>using these and every thing was harsh thin and grainy. Of course I was
not
>>there so it could have been some other issue. (pro tools?) I have a 16
channel
>>spirit folio rac pac. I used to use it only as extra pres for snare bottom
>>and as a talk back and things like that. I have since discovered that it
>>sounds really nice. I had to trac a scratch acoustic while working paris
>>thinking I'd replace it..no way, it is sweet and musical. Since then I
use
>>it on snare top and toms too ( I like the eq pre paris) I would not say
>it
>>is going to give you slammin Neve sound or whatever..but honestly, I am
>sorta
>>tired of that anyway.
>>
>>
>>"Aaron Allen" <nospam@not_here.dude> wrote:
>>>I have worked with the 386, the firepod, the bluetube and digimaxLT ..
>can't
>>
>>>recommend any of those, honestly. They all seemed to suffer from either
>>QC
>>>problems or just plainly didn't sound good. I'd be more inclined to steer
>>
>>>you towards a Grace set, less of them but better quality per buck, because
>>
>>>you already have generic pres in the console.
>>>As to the console, are you routing the mix through it or through paris?
>>>
>>>AA
>>>
>>>
>>>"Dan B" <daniel_burne@yahooNOSPAM.com> wrote in message
>>>news:42de84ca$1@linux...
>>>>
>>>> Hi,
>>>>
>>>> In short - comments on $400-700 multichannel mic pre's - e.g.
>>>> Focusrite Octopre
>>>> Focusrite Octopre LE
>>>> Presonus Digimax LT
>>>> Presonus MP20
>>>> Presonus Bluetube
>>>> Presonus Firepod
>>>> M-Audio Octane
>>>> dbx 386
>>>>
>>>>
>>>> In long... Mic pre wise at the moment I have only a Focusrite Platinum
>>
>>>> V
|
|
|
|
| Re: Bomb attacks in London England [message #55565 is a reply to message #55550] |
Mon, 11 July 2005 15:25 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
oicemaster
>>>> and a Soundcraft Spirit Folio Desk. I suspect the desk is the weak link
>>in
>>>> my studio, and so am after some replacement pres. The budget's limited
>>
>>>> (ideally
>>>> $600 ish, but may be able to stretch). Ideally it would have 8 channels,
>>>> but some have suggested I'd be better buying a decent 2 (or 4) channel
>>
>>>> unit,
>>>> and using the desk for the rest. That way acoustic guitar could be
>>>> recorded
>>>> with 3 mics through decent pres. I'd only need to use the desk pres
for
>>
>>>> extra
>>>> drum mics beyond the 3 channels (each instrument tracked individually).
>>
>>>> It'd
>>>> only be worth investing the money in an 8 channel pre if they're going
>>to
>>>> be a fairly significantly better than those in the desk.
>>>>
>>>> Many thanks for any advice / suggestions.
>>>>
>>>> BTW, mic wise I'm using AT4033a's as O/Hs / Vocals / acoustic guitar,
>>
>>>> C418s
>>>> on toms / snare top, SM57 (underneath snare), D112 kick. I *may* buy
>a
>>
>>>> Rode
>>>> NTK (valve) for vocals / acoustic guitar.
>>>
>>>
>>
>anyone read that end article in the new Tape Op? great I love it..I tlak about
this all the time...I HATE the word BIG..I WANT A BIG GUITAR SOUND!...eek.
Some of the greatest guitar sound ever were pretty small.
He hit the nail on the word "warm" too..telecater through a JC120 slice!
OH another tape op comment..I am starting to really bum out about the gear
reviews.
The AH review of the SE mic smacked of an endorsment trade..Then in one article
about Peter Gabriel's studio..
I quote froma page 42:" We've go a bit of a deal with focusrite. We've written
some reviews of their gear, so they've been kind enough to give us some gear
in exchange"
I'm not saying they gave bad gear a good review for trade, but it certainly
raises more suspicians eh?I too was hopeful in this matter. It does help the monitoring, but not the
processing.
tracking is anothert matter
"RZ" <pearlmusic@sbcglobal.net> wrote:
>I've seen someone mention that adding an external clock to Paris made the
>reverb tails sound smoother. Is this just a benefit to the D/A converters
>that allow you to hear more clearly or does it have any effect on internal
>processing?
>
>Can an external clock help the sound of already recorded tracks being
>internally printed?
>
>RZ
>
>Ok, I'm going to stick my neck out on this, but the Behringer ADA8000 sounds
really good and works perfectly with the ADAT card.
The mic pres have a dark 70s vibe and sound compeltely different from the
latest Mackie or Presonus Mic pres, which I think sound brittle. I would
prefer the ADA 8000 over the Presonus pres even if they cost the same - or
more, even.
Just my 2 cents.
Mike
DImitrios <musurgio@otenet.gr> wrote:
>Hi,
>I don't aggree about the 386 and the 376 as a matter of fact from DBX.
>With some upgrade they sound very very good, very sweet almost remind me
>the analog tape recording thing.
>The only major upgrade should be replacing the ECC82 tubes to original
>Telefunken ones.
>Change some caps inside (not radical chnages here) and you have a very
>good preamp.
>I tried changing all or some of the opa's too but found the stock ones
>sound the best.
>You kn ow they use same chips as RME uses and most others.
>It is the tubes that make all the difference.
>The best mic form the cheap models (not chinese) that compliments
>perfectly the 3xx line pf preamps is AT4033.
>This combination was preffered from a client instead of AT 4066 using
>Avalon M5 preamp.
>It makes you sound sweet warm with no hint of ahrshness at all and
>sibilance !
>Regards,
>Dimitrios
>
>Dave Parkin wrote:
>> Howdy all.
>>
>> Thought I might put my 2 cents in...
>>
>> I feel you will be let down going for 8 more budget channels. I dont
think
>> you will hear a significant quality change in relation to the spirit.
A couple
>> of years ago, i bought a whole heap of focusrite platinum things, (Penta,
>> voice master, tracmaster, ect), and was quite upset when i didnt notice
a
>> decent sonic change from my eurodesk M5000. I was trying to convince
myself
>> that is was better.. It wasnt until i bought some more pricey solid state
>> class-a transformer based pres, that i noticed a better quality coming
through.
>>
>> I feel you should buy one or two pre's with that money, or save up
for
>> something better. Thats a more rewarding experience.
>>
>>
>>
>>
>>
>> "Dan B" <daniel_burne@yahooNOSPAM.com> wrote:
>>
>>>Hi,
>>>
>>>In short - comments on $400-700 multichannel mic pre's - e.g.
>>>Focusrite Octopre
>>>Focusrite Octopre LE
>>>Presonus Digimax LT
>>>Presonus MP20
>>>Presonus Bluetube
>>>Presonus Firepod
>>>M-Audio Octane
>>>dbx 386
>>>
>>>
>>>In long... Mic pre wise at the moment I have only a Focusrite Platinum
Voicemaster
>>>and a Soundcraft Spirit Folio Desk. I suspect the desk is the weak link
>>
>> in
>>
>>>my studio, and so am after some replacement pres. The budget's limited
(ideally
>>>$600 ish, but may be able to stretch). Ideally it would have 8 channels,
>>>but some have suggested I'd be better buying a decent 2 (or 4) channel
unit,
>>>and using the desk for the rest. That way acoustic guitar could be recorded
>>>with 3 mics through decent pres. I'd only need to use the desk pres for
>>
>> extra
>>
>>>drum mics beyond the 3 channels (each instrument tracked individually).
>>
>> It'd
>>
>>>only be worth investing the money in an 8 channel pre if they're going
to
>>>be a fairly significantly better than those in the desk.
>>>
>>>Many thanks for any advice / suggestions.
>>>
>>>BTW, mic wise I'm using AT4033a's as O/Hs / Vocals / acoustic guitar,
C418s
>>>on toms / snare top, SM57 (underneath snare), D112 kick. I *may* buy a
Rode
>>>NTK (valve) for vocals / acoustic guitar.
>>
>>Hey, he asked about 8 channels for under $700.... not *80*
channels for under $700!! ;-)
David.
Mike Audet wrote:
> Ok, I'm going
|
|
|
|
| Re: Bomb attacks in London England [message #55566 is a reply to message #55545] |
Mon, 11 July 2005 16:56 |
Jamie K
Messages: 1115
Registered: July 2006
|
Senior Member |
|
|
to stick my neck out on this, but the Behringer ADA8000 sounds
> really good and works perfectly with the ADAT card.
>
>
snip
>
> Mike
>
> DImitrios <musurgio@otenet.gr> wrote:
>
>>Hi,
>>I don't aggree about the 386 and the 376 as a matter of fact from DBX.
>>With some upgrade they sound very very good, very sweet almost remind me
>
>
>>the analog tape recording thing.
>>The only major upgrade should be replacing the ECC82 tubes to original
>>Telefunken ones.
>>Change some caps inside (not radical chnages here) and you have a very
>>good preamp.
>>I tried changing all or some of the opa's too but found the stock ones
>>sound the best.
>>You kn ow they use same chips as RME uses and most others.
>>It is the tubes that make all the difference.
>>The best mic form the cheap models (not chinese) that compliments
>>perfectly the 3xx line pf preamps is AT4033.
>>This combination was preffered from a client instead of AT 4066 using
>>Avalon M5 preamp.
>>It makes you sound sweet warm with no hint of ahrshness at all and
>>sibilance !
>>Regards,
>>Dimitrios
>>
>>Dave Parkin wrote:
>>
>>>Howdy all.
>>>
>>> Thought I might put my 2 cents in...
>>>
>>> I feel you will be let down going for 8 more budget channels. I dont
>
> think
>
>>>you will hear a significant quality change in relation to the spirit.
>
> A couple
>
>>>of years ago, i bought a whole heap of focusrite platinum things, (Penta,
>>>voice master, tracmaster, ect), and was quite upset when i didnt notice
>
> a
>
>>>decent sonic change from my eurodesk M5000. I was trying to convince
>
> myself
>
>>>that is was better.. It wasnt until i bought some more pricey solid state
>>>class-a transformer based pres, that i noticed a better quality coming
>
> through.
>
>>> I feel you should buy one or two pre's with that money, or save up
>
> for
>
>>>something better. Thats a more rewarding experience.
>>>
>>>
>>>
>>>
>>>
>>>"Dan B" <daniel_burne@yahooNOSPAM.com> wrote:
>>>
>>>
>>>>Hi,
>>>>
>>>>In short - comments on $400-700 multichannel mic pre's - e.g.
>>>>Focusrite Octopre
>>>>Focusrite Octopre LE
>>>>Presonus Digimax LT
>>>>Presonus MP20
>>>>Presonus Bluetube
>>>>Presonus Firepod
>>>>M-Audio Octane
>>>>dbx 386
>>>>
>>>>
>>>>In long... Mic pre wise at the moment I have only a Focusrite Platinum
>
> Voicemaster
>
>>>>and a Soundcraft Spirit Folio Desk. I suspect the desk is the weak link
>>>
>>>in
>>>
>>>
>>>>my studio, and so am after some replacement pres. The budget's limited
>
> (ideally
>
>>>>$600 ish, but may be able to stretch). Ideally it would have 8 channels,
>>>>but some have suggested I'd be better buying a decent 2 (or 4) channel
>
> unit,
>
>>>>and using the desk for the rest. That way acoustic guitar could be recorded
>>>>with 3 mics through decent pres. I'd only need to use the desk pres for
>>>
>>>extra
>>>
>>>
>>>>drum mics beyond the 3 channels (each instrument tracked individually).
>>>
>>>It'd
>>>
>>>
>>>>only be worth investing the money in an 8 channel pre if they're going
>
> to
>
>>>>be a fairly significantly better than those in the desk.
>>>>
>>>>Many thanks for any advice / suggestions.
>>>>
>>>>BTW, mic wise I'm using AT4033a's as O/Hs / Vocals / acoustic guitar,
>
> C418s
>
>>>>on toms / snare top, SM57 (underneath snare), D112 kick. I *may* buy a
>
> Rode
>
>>>>NTK (valve) for vocals / acoustic guitar.
>>>
>>>
>I recently picked up two units, a Sony MU-R201 and a V77.
So should you.
;o)I can't speak for TapeOp, but most magazines are under the gun to keep
advertising money coming in. I review for AudioMidi dot com, and we/I seem
to have more room to be objective since advertising money isn't a pressure
point (though some online/catalog retailers obviously do publish significant
ads).
The manufacturers obviously want a good review, because sales often hinge on
it. And to some degree fairness becomes a two-sided perspective for
retailers, and reviewers. As users we can bash gear anytime we want (except
in front of clients of course), as we only use it, not sell it. We often
judge based on a desire to always have, or at least like the best, and never
be caught liking gear that would call our professional ears into question.
So, knowing that a lot of how we judge gear is in fact opinion, during the
process of digging into a product with the target user/market in mind, the
brash knuckles come off (pun intended) and objectivity becomes more fact
finding than picky comparison shopping with an unlimited budget.
I try to be fair - if someone can use a product, it's worth giving them and
the manufacturer an appropriately positive viewpoint on it's intended use
and market, but I won't sacrifice objectivity for more discerning users that
want an honest assessment (i.e. you won't see me drooling over a $100 cheap
mic when put up against a Lawson, Blue, etc, but I doubt many users with a
$50,000 mic closet really care about a review of a $100 mic - a hobbyist
might though). In either case though, most users can, and should read
through an influenced review. So as long as whoever I review for supports
objectivity, I'll keep writing reviews.
If you think I'm not being objective where I should be, please let me know.
I see no point in hyped ad-copy reviews, or in opinionated negativity.
That's what ads, and respectively, other forums are for. ;-) If someone
asks me to write a marketing/ad "review", I'll be charging an appropriate ad
copywriting or marketing consulting rate. There are reviewers I trust from
time to time, but a review is still only one person's opinion, however
objective. That's why I come here when I want an honest perspective from
other users on gear.
Just my .02 on trying to keep it real for other users like me (and probably
pretty much everyone here) that don't have an unlimited budget, and don't
expect miracles from peanuts or diamonds for free.
Regards,
DT
On 7/22/05 6:37 PM, in article 42e1915b$1@linux, "cujo"
<chris@nospamapplemanstudio.com> wrote:
> OH another tape op comment..I am starting to really bum out about the gear
> reviews.
> The AH review of the SE mic smacked of an endorsment trade..Then in one
> article
> about Peter Gabriel's studio..
>
> I quote froma page 42:" We've go a bit of a deal with focusrite. We've written
> some reviews of their gear, so they've been kind enough to give us some gear
> in exchange"
>
> I'm not saying they gave bad gear a good review for trade, but it certainly
> raises more suspicians eh?
>well you missed my birthday but xmas is coming up...;o)
On Fri, 22 Jul 2005 23:33:29 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I recently picked up two units, a Sony MU-R201 and a V77.
>
>So should you.
>
>;o)
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I recently picked up two units, a Sony MU-R201 and a V77.
>
>So should you.
>
>;o)
>
Love my V77 and my V55 (which can be found very cheap on eBay and has some
great stereo in, quad out reverbs and effects.)
Gene>Hey Tyrone,
>Man I'm sorry I missed you guys when you were in Motown. I was out of town
>that week. But, I heard the show was on point.
>
>Maybe when you guys get back here, we can hook up..
>LaMOnt
>
Lamont, I'm sorry I missed you as well. It was my intention to contact you
prior to getting into town, but I dropped the ball. I'll definitely let you
know if we will be coming back into your neck of the woods.
Will is about to release his new record (August, I think) and there will
be a promotional tour, but I'm not certain I will be doing that hit. Let's
catch up when you have an available minute.
TyroneI have a peanut here that looks like a cross between the virgin Mary and
David Copperfield.........and I've been waiting and waiting.............so
now you're telling me that I'm wasting my time??????????!!!!!!!!!
"DT" <dterry@no_spamkeyofd.net> wrote in message
news:BF0744E5.329D%dterry@no_spamkeyofd.net...
> I can't speak for TapeOp, but most magazines are under the gun to keep
> advertising money coming in. I review for AudioMidi dot com, and we/I
seem
> to have more room to be objective since advertising money isn't a pressure
> point (though some online/catalog retailers obviously do publish
significant
> ads).
>
> The manufacturers obviously want a good review, because sales often hinge
on
> it. And to some degree fairness becomes a two-sided perspective for
> retailers, and reviewers. As users we can bash gear anytime we want
(except
> in front of clients of course), as we only use it, not sell it. We often
> judge based on a desire to always have, or at least like the best, and
never
> be caught liking gear that would call our professional ears into question.
>
> So, knowing that a lot of how we judge gear is in fact opinion, during the
> process of digging into a product with the target user/market in mind, the
> brash knuckles come off (pun intended) and objectivity becomes more fact
> finding than picky comparison shopping with an unlimited budget.
>
> I try to be fair - if someone can use a product, it's worth giving them
and
> the manufacturer an appropriately positive viewpoint on it's intended use
> and market, but I won't sacrifice objectivity for more discerning users
that
> want an honest assessment (i.e. you won't see me drooling over a $100
cheap
> mic when put up against a Lawson, Blue, etc, but I doubt many users with a
> $50,000 mic closet really care about a review of a $100 mic - a hobbyist
> might though). In either case though, most users can, and should read
> through an influenced review. So as long as whoever I review for supports
> objectivity, I'll keep writing reviews.
>
> If you think I'm not being objective where I should be, please let me
know.
> I see no point in hyped ad-copy reviews, or in opinionated negativity.
> That's what ads, and respectively, other forums are for. ;-) If someone
> asks me to write a marketing/ad "review", I'll be charging an appropriate
ad
> copywriting or marketing consulting rate. There are reviewers I trust
from
> time to time, but a review is still only one person's opinion, however
> objective. That's why I come here when I want an honest perspective from
> other users on gear.
>
> Just my .02 on trying to keep it real for other users like me (and
probably
> pretty much everyone here) that don't have an unlimited budget, and don't
> expect miracles from peanuts or diamonds for free.
>
> Regards,
> DT
>
> On 7/22/05 6:37 PM, in article 42e1915b$1@linux, "cujo"
> <chris@nospamapplemanstudio.com> wrote:
>
> > OH another tape op comment..I am starting to really bum out about the
gear
> > reviews.
> > The AH review of the SE mic smacked of an endorsment trade..Then in one
> > article
> > about Peter Gabriel's studio..
> >
> > I quote froma page 42:" We've go a bit of a deal with focusrite. We've
written
> > some reviews of their gear, so they've been kind enough to give us some
gear
> > in exchange"
> >
> > I'm not saying they gave bad gear a good review for trade, but it
certainly
> > raises more suspicians eh?
> >
>I was referring to standard unsalted, un-shelled peanuts. YMMV with other
varieties. I hate to admit it, but I am always on the lookout for free
diamonds lying around in my yard. So far no luck (although I once found a
MatchBox car, but I think that belongs to my son). The ones in those fancy
stores always seem to have price tags on them.
Dedric
On 7/23/05 9:29 AM, in article 42e2626d@linux, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
> I have a peanut here that looks like a cross between the virgin Mary and
> David Copperfield.........and I've been waiting and waiting.............so
> now you're telling me that I'm wasting my time??????????!!!!!!!!!
>
>
> "DT" <dterry@no_spamkeyofd.net> wrote in message
> news:BF0744E5.329D%dterry@no_spamkeyofd.net...
>> I can't speak for TapeOp, but most magazines are under the gun to keep
>> advertising money coming in. I review for AudioMidi dot com, and we/I
> seem
>> to have more room to be objective since advertising money isn't a pressure
>> point (though some online/catalog retailers obviously do publish
> significant
>> ads).
>>
>> The manufacturers obviously want a good review, because sales often hinge
> on
>> it. And to some degree fairness becomes a two-sided perspective for
>> retailers, and reviewers. As users we can bash gear anytime we want
> (except
>> in front of clients of course), as we only use it, not sell it. We often
>> judge based on a desire to always have, or at least like the best, and
> never
>> be caught liking gear that would call our professional ears into question.
>>
>> So, knowing that a lot of how we judge gear is in fact opinion, during the
>> process of digging into a product with the target user/market in mind, the
>> brash knuckles come off (pun intended) and objectivity becomes more fact
>> finding than picky comparison shopping with an unlimited budget.
>>
>> I try to be fair - if someone can use a product, it's worth giving them
> and
>> the manufacturer an appropriately positive viewpoint on it's intended use
>> and market, but I won't sacrifice objectivity for more discerning users
> that
>> want an honest assessment (i.e. you won't see me drooling over a $100
> cheap
>> mic when put up against a Lawson, Blue, etc, but I doubt many users with a
>> $50,000 mic closet really care about a review of a $100 mic - a hobbyist
>> might though). In either case though, most users can, and should read
>> through an influenced review. So as long as whoever I review for supports
>> objectivity, I'll keep writing reviews.
>>
>> If you think I'm not being objective where I should be, please let me
> know.
>> I see no point in hyped ad-copy reviews, or in opinionated negativity.
>> That's what ads, and respectively, other forums are for. ;-) If someone
>> asks me to write a marketing/ad "review", I'll be charging an appropriate
> ad
>> copywriting or marketing consulting rate. There are reviewers I trust
> from
>> time to time, but a review is still only one person's opinion, however
>> objective. That's why I come here when I want an honest perspective from
>> other users on gear.
>>
>> Just my .02 on trying to keep it real for other users like me (and
> probably
>> pretty much everyone here) that don't have an unlimited budget, and don't
>> expect miracles from peanuts or diamonds for free.
>>
>> Regards,
>> DT
>>
>> On 7/22/05 6:37 PM, in article 42e1915b$1@linux, "cujo"
>> <chris@nospamapplemanstudio.com> wrote:
>>
>>> OH another tape op comment..I am starting to really bum out about the
> gear
>>> reviews.
>>> The AH review of the SE mic smacked of an endorsment trade..Then in one
>>> article
>>> about Peter Gabriel's studio..
>>>
>>> I quote froma page 42:" We've go a bit of a deal with focusrite. We've
> written
>>> some reviews of their gear, so they've been kind enough to give us some
> gear
>>> in exchange"
>>>
>>> I'm not saying they gave bad gear a good review for trade, but it
> certainly
>>> raises more suspicians eh?
>>>
>>
>
>Could you post some pics of the Sony Deej? I have heard that the Sony MU
and Ibanez SDR1000 are the same unit. I have the Ibanez. In particular, I
am interested in seeing the i/o section in the back.
Dubya
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42e1d68f$1@linux...
>I recently picked up two units, a Sony MU-R201 and a V77.
>
> So should you.
>
> ;o)
>
>;o)...........well, that does it then. My peanut is going up on EBay.
"DT" <dterry@no_spamkeyofd.net> wrote in message
news:BF07C7CF.32AA%dterry@no_spamkeyofd.net...
> I was referring to standard unsalted, un-shelled peanuts. YMMV with other
> varieties. I hate to admit it, but I am always on the lookout for free
> diamonds lying around in my yard. So far no luck (although I once found a
> MatchBox car, but I think that belongs to my son). The ones in those
fancy
> stores always seem to have price tags on them.
>
> Dedric
>
> On 7/23/05 9:29 AM, in article 42e2626d@linux, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> > I have a peanut here that looks like a cross between the virgin Mary and
> > David Copperfield.........and I've been waiting and
waiting.............so
> > now you're telling me that I'm wasting my time??????????!!!!!!!!!
> >
> >
> > "DT" <dterry@no_spamkeyofd.net> wrote in message
> > news:BF0744E5.329D%dterry@no_spamkeyofd.net...
> >> I can't speak for TapeOp, but most magazines are under the gun to keep
> >> advertising money coming in. I review for AudioMidi dot com, and we/I
> > seem
> >> to have more room to be objective since advertising money isn't a
pressure
> >> point (though some online/catalog retailers obviously do publish
> > significant
> >> ads).
> >>
> >> The manufacturers obviously want a good review, because sales often
hinge
> > on
> >> it. And to some degree fairness becomes a two-sided perspective for
> >> retailers, and reviewers. As users we can bash gear anytime we want
> > (except
> >> in front of clients of course), as we only use it, not sell it. We
often
> >> judge based on a desire to always have, or at least like the best, and
> > never
> >> be caught liking gear that would call our professional ears into
question.
> >>
> >> So, knowing that a lot of how we judge gear is in fact opinion, during
the
> >> process of digging into a product with the target user/market in mind,
the
> >> brash knuckles come off (pun intended) and objectivity becomes more
fact
> >> finding than picky comparison shopping with an unlimited budget.
> >>
> >> I try to be fair - if someone can use a product, it's worth giving them
> > and
> >> the manufacturer an appropriately positive viewpoint on it's intended
use
> >> and market, but I won't sacrifice objectivity for more discerning users
> > that
> >> want an honest assessment (i.e. you won't see me drooling over a $100
> > cheap
> >> mic when put up against a Lawson, Blue, etc, but I doubt many users
with a
> >> $50,000 mic closet really care about a review of a $100 mic - a
hobbyist
> >> might though). In either case though, most users can, and should read
> >> through an influenced review. So as long as whoever I review for
supports
> >> objectivity, I'll keep writing reviews.
> >>
> >> If you think I'm not being objective where I should be, please let me
> > know.
> >> I see no point in hyped ad-copy reviews, or in opinionated negativity.
> >> That's what ads, and respectively, other forums are for. ;-) If
someone
> >> asks me to write a marketing/ad "review", I'll be charging an
appropriate
> > ad
> >> copywriting or marketing consulting rate. There are reviewers I trust
> > from
> >> time to time, but a review is still only one person's opinion, however
> >> objective. That's why I come here when I want an honest perspective
from
> >> other users on gear.
> >>
> >> Just my .02 on trying to keep it real for other users like me (and
> > probably
> >> pretty much everyone here) that don't have an unlimited budget, and
don't
> >> expect miracles from peanuts or diamonds for free.
> >>
> >> Regards,
> >> DT
> >>
> >> On 7/22/05 6:37 PM, in article 42e1915b$1@linux, "cujo"
> >> <chris@nospamapplemanstudio.com> wrote:
> >>
> >>> OH another tape op comment..I am starting to really bum out about the
> > gear
> >>> reviews.
> >>> The AH review of the SE mic smacked of an endorsment trade..Then in
one
> >>> article
> >>> about Peter Gabriel's studio..
> >>>
> >>> I quote froma page 42:" We've go a bit of a deal with focusrite. We've
> > written
> >>> some reviews of their gear, so they've been kind enough to give us
some
> > gear
> >>> in exchange"
> >>>
> >>> I'm not saying they gave bad gear a good review for trade, but it
> > certainly
> >>> raises more suspicians eh?
> >>>
> >>
> >
> >
>This is a bit "Sharper Image" but broader and nonetheless interesting.
www.idsa.org/galleries.htm
Be sure to check out the 2005 consumer section, near the bottom, modular
electric guitar.
DubyaThere's been some banter here in times past about cheap chinese mics and
mfrg jobs going to China (think Mackie) and evil multi-national corps, etc.
A newspaper local to me recorded yesterday that the Chinese have decided to
"revalue" their currency, the "Yuan."
Until now, it has been tied to the value of the US$ only. It will now tie
to a basket of international currencies. The first Yuan bounce is 2.5% up.
This is good ultimately. Target', Wah-mart and Peir 1 Imports will hurt
from this but this will almost immediately kill mfr jobs going to China; mfr
jobs could eventually return to the US from China.
Get your cheap and evil Chinese mics and pres while the price is still low.
DubyaMark,
The MU-R201 is up top, right below the Furman power strip. It is indeed a
rebadged Ibanez unit. Here's a link that is pretty interesting. I'm going to
have do a *what he said* regarding this reverb. It's certainly a sleeper.
http://www.rogernichols.com/EQ/EQ_97-08.html
One thing about it that was a pleasant surprise is how amost nonexistent the
noise floor is in this unit. There is really none to speak of when
interfaced at +4. I think the outputs are unbalanced, but I'm using TRS
patch cables into a balanced patchbay and it's dead quiet.
The interface is a bit archaic and the manual is definitely a plus to have
when familiarizing yourself with the presets and how to tweak the unit since
everything just comes up as numbers with no reference to any *type* of
effect that number may refer to so an RTFM session is a *must* with this
unit.
;o)
Deej
"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
news:42e27b07$1@linux...
> Could you post some pics of the Sony Deej? I have heard that the Sony MU
> and Ibanez SDR1000 are the same unit. I have the Ibanez. In particular,
I
> am interested in seeing the i/o section in the back.
>
> Dubya
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:42e1d68f$1@linux...
> >I recently picked up two units, a Sony MU-R201 and a V77.
> >
> > So should you.
> >
> > ;o)
> >
> >
>
>
Did you get a manual with it? If not, I would think my Ibanez manual would
apply.
Dubya
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42e2852b@linux...
> Mark,
>
> The MU-R201 is up top, right below the Furman power strip. It is indeed a
> rebadged Ibanez unit. Here's a link that is pretty interesting. I'm going
> to
> have do a *what he said* regarding this reverb. It's certainly a sleeper.
>
> http://www.rogernichols.com/EQ/EQ_97-08.html
>
> One thing about it that was a pleasant surprise is how amost nonexistent
> the
> noise floor is in this unit. There is really none to speak of when
> interfaced at +4. I think the outputs are unbalanced, but I'm using TRS
> patch cables into a balanced patchbay and it's dead quiet.
>
> The interface is a bit archaic and the manual is definitely a plus to have
> when familiarizing yourself with the presets and how to tweak the unit
> since
> everything just comes up as numbers with n
|
|
|
|
| Re: Bomb attacks in London England [message #55567 is a reply to message #55521] |
Mon, 11 July 2005 17:02 |
Jamie K
Messages: 1115
Registered: July 2006
|
Senior Member |
|
|
o reference to any *type* of
> effect that number may refer to so an RTFM session is a *must* with this
> unit.
>
> ;o)
> Deej
>
>
>
> "W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
> news:42e27b07$1@linux...
>> Could you post some pics of the Sony Deej? I have heard that the Sony MU
>> and Ibanez SDR1000 are the same unit. I have the Ibanez. In particular,
> I
>> am interested in seeing the i/o section in the back.
>>
>> Dubya
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> news:42e1d68f$1@linux...
>> >I recently picked up two units, a Sony MU-R201 and a V77.
>> >
>> > So should you.
>> >
>> > ;o)
>> >
>> >
>>
>>
>
>
>I only go to Wal Mart when I just can't find something at my local mom and
pop. This isn't really as much about making a political statement as it is
about quality/bang-for-the-buck and what my time is worth. I have just found
the goods they sell to be really inferior in quality and considering the
fact that it takes me at least an hour ++ longer to drive the extra distance
to the edge of town where WalMart lives, find a parking place within 1/2 a
mile, locate whatever it is that I need in the bewildering giant cavernous
expanse of wall-to-wall/floor-to-ceiling crap, and God help me if I don't
know where to find it because finding someone to help may take another
hour........ and then wait in one of the 4 out of 20 cashier stations that
are open, I've actually *saved* money by paying a little more at my local
ACE hardware or local grocery or retail clothing/electronics shop downtown
which is struggling to survive the onslaught of WalMart, charges a little
more and has someone there to lead me to *exactly* what I'm looking for and
help me every step of the way in finding what I want.
As for Chinese mics, I've got a couple here that are on loan from Morgan
that are *really* more in the comparison range with my German mics. These
are made by SE electronics and I'm finding them to be *big boy
toys*.......but they're not cheaply priced either. This company is competing
with the high end stuff that I've heard. Here's a pic of a couple of their
mics.........the Gemini and the Titan.
;o)
"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
news:42e28006$1@linux...
> There's been some banter here in times past about cheap chinese mics and
> mfrg jobs going to China (think Mackie) and evil multi-national corps,
etc.
> A newspaper local to me recorded yesterday that the Chinese have decided
to
> "revalue" their currency, the "Yuan."
>
> Until now, it has been tied to the value of the US$ only. It will now tie
> to a basket of international currencies. The first Yuan bounce is 2.5%
up.
> This is good ultimately. Target', Wah-mart and P
|
|
|
|
| Re: Bomb attacks in London England [message #55568 is a reply to message #55565] |
Mon, 11 July 2005 16:15 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
eir 1 Imports will hurt
> from this but this will almost immediately kill mfr jobs going to China;
mfr
> jobs could eventually return to the US from China.
>
> Get your cheap and evil Chinese mics and pres while the price is still
low.
>
> Dubya
>
>
I got the manual, but thanks for the offer. I'd be pretty lost without it,
quite frankly.
;o)
"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
news:42e286f5@linux...
> Did you get a manual with it? If not, I would think my Ibanez manual would
> apply.
>
> Dubya
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:42e2852b@linux...
> > Mark,
> >
> > The MU-R201 is up top, right below the Furman power strip. It is indeed
a
> > rebadged Ibanez unit. Here's a link that is pretty interesting. I'm
going
> > to
> > have do a *what he said* regarding this reverb. It's certainly a
sleeper.
> >
> > http://www.rogernichols.com/EQ/EQ_97-08.html
> >
> > One thing about it that was a pleasant surprise is how amost nonexistent
> > the
> > noise floor is in this unit. There is really none to speak of when
> > interfaced at +4. I think the outputs are unbalanced, but I'm using TRS
> > patch cables into a balanced patchbay and it's dead quiet.
> >
> > The interface is a bit archaic and the manual is definitely a plus to
have
> > when familiarizing yourself with the presets and how to tweak the unit
> > since
> > everything just comes up as numbers with no reference to any *type* of
> > effect that number may refer to so an RTFM session is a *must* with this
> > unit.
> >
> > ;o)
> > Deej
> >
> >
> >
> > "W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
> > news:42e27b07$1@linux...
> >> Could you post some pics of the Sony Deej? I have heard that the Sony
MU
> >> and Ibanez SDR1000 are the same unit. I have the Ibanez. In
particular,
> > I
> >> am interested in seeing the i/o section in the back.
> >>
> >> Dubya
> >>
> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >> news:42e1d68f$1@linux...
> >> >I recently picked up two units, a Sony MU-R201 and a V77.
> >> >
> >> > So should you.
> >> >
> >> > ;o)
> >> >
> >> >
> >>
> >>
> >
> >
> >
>
>Never seen it or heard of it.
Dubya
"Gene Lennon" <genelennon@NOSPmyrealbox.com> wrote in message
news:42e178c2$1@linux...
>
> Anyone know what Paris error 61/3d is?
> This is not my Paris rig.
> Gene
>How would you rank the SE mics in terms of value, quality of top end, etc
compared to other options (Blue, Neumann, etc)? So far I haven't found
anything less than $2k that has a comparable smooth, clear top end to the
Blues and Lawsons of the market (except for a Blue Mouse at $1300).
Dedric
On 7/23/05 12:21 PM, in article 42e28a2a@linux, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
> I only go to Wal Mart when I just can't find something at my local mom and
> pop. This isn't really as much about making a political statement as it is
> about quality/bang-for-the-buck and what my time is worth. I have just found
> the goods they sell to be really inferior in quality and considering the
> fact that it takes me at least an hour ++ longer to drive the extra distance
> to the edge of town where WalMart lives, find a parking place within 1/2 a
> mile, locate whatever it is that I need in the bewildering giant cavernous
> expanse of wall-to-wall/floor-to-ceiling crap, and God help me if I don't
> know where to find it because finding someone to help may take another
> hour........ and then wait in one of the 4 out of 20 cashier stations that
> are open, I've actually *saved* money by paying a little more at my local
> ACE hardware or local grocery or retail clothing/electronics shop downtown
> which is struggling to survive the onslaught of WalMart, charges a little
> more and has someone there to lead me to *exactly* what I'm looking for and
> help me every step of the way in finding what I want.
>
> As for Chinese mics, I've got a couple here that are on loan from Morgan
> that are *really* more in the comparison range with my German mics. These
> are made by SE electronics and I'm finding them to be *big boy
> toys*.......but they're not cheaply priced either. This company is competing
> with the high end stuff that I've heard. Here's a pic of a couple of their
> mics.........the Gemini and the Titan.
>
> ;o)
>
> "W. Mark Wilson" <Report message to a moderator
|
|
|
|
| Re: Bomb attacks in London England [message #55570 is a reply to message #55559] |
Mon, 11 July 2005 20:51 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
>> Until now, it has been tied to the value of the US$ only. It will now tie
>> to a basket of international currencies. The first Yuan bounce is 2.5%
> up.
>> This is good ultimately. Target', Wah-mart and Peir 1 Imports will hurt
>> from this but this will almost immediately kill mfr jobs going to China;
> mfr
>> jobs could eventually return to the US from China.
>>
>> Get your cheap and evil Chinese mics and pres while the price is still
> low.
>>
>> Dubya
>>
>>
>
>never seen dis errer before
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I got the manual, but thanks for the offer. I'd be pretty lost without it,
>quite frankly.
>
So, uh, Mr.S, could I possibly obtain a photocopy of this essential piece
of literature?
No manual with the one I bought. :0(
Hey! Remember who told you about the Golden Plate setting!
MikeI'm almost done copying the manual for you. I'll drop it in the mail Monday.
that Gold Plate is nice, but I'll tell you what, last6 night I was playing
around with the V77 and I found a preset called Drum Booth. I strapped the
V77 across an aux and enabled the aux on every channel of an 11 track drum
submix............OMG!!!!.......reminded me a lot of the UAD-1 Fairchild. A
real *in your face* kinda' thing. I'm gonna have to get another one of these
puppies so I can just keep this one for drum processing.
(I'm kidding......I think). E-me your address. Rick cn testify as to how
prompt I am with mailing stuff.
;o)
"Mike Claytor" <claytor@nospam.com> wrote in message
news:42e2cf3d$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >I got the manual, but thanks for the offer. I'd be pretty lost without
it,
> >quite frankly.
> >
>
> So, uh, Mr.S, could I possibly obtain a photocopy of this essential piece
> of literature?
>
> No manual with the one I bought. :0(
>
> Hey! Remember who told you about the Golden Plate setting!
>
> MikeI hope they get it back on soon or we might go bye bye for a bit...
'Tis nice to have a UPS backing up your internet and a laptop to surf on
while you wait. :o)
Cheers,
Kim."Kim" <hiddensounds@hotmail.com> wrote:
>I hope they get it back on soon or we might go bye bye for a bit...
Ironically, the power came back on in time, but the UPS refused to recognise
this and hence a couple of minutes after the power came back on, the UPS
powered everything down anyhow. ;o)
But we're all good now. :o)
Cheers,
Kim.Weren't you liking the Nady Chinese ribbon
mic? We tried out the PPA version and liked it, and
then found yet another rebadged version from
www.shinybox.com
We bought a couple, and they are pretty cool, and
look better (round grill instead of the wedge, and a
nice small ShinyBox logo, and the XLR is mounted on
the rear instead of the attached cable. Best yet, he
sells them for $165, including the bad and a nice,
vertical metal case, too. He also has a modded model
with a Cinemag output tranny, and is working on some
ribbons mods. I spoke with him on the phones and he
seems really cool, too.
Anyway, better packaging and a better price :)I'll bet some of you have probably done this already, but I'm been curious
for years about the *real deal* with native DAWs at 96kHz vs Paris at
44.1kHz. I've heard 96kHz recordings done in both Nuendo and ProTools HD but
I've just never been able to get them into some sort of A/B situation in my
own studio. I've got Mytek 96kHz A/D converter here and I've spent part of
the day getting this happening in a situation where I can actually track to
SX and achieve a hi rez D/A conversion so I can use my headphone monitoring
system in a real life tracking scenario. I've also purchased an RME
Multiface and PCI card which will be integrated into the dual DAW situation
I've got going here and will also provide me the capability of doing limited
(10 tracks simultaneously) tracking sessions at 96kHz - gotta' be able to
advertize this. I'm one of two studios that can't do hi rez and I feel like
I need the capability, if for no other reason than to just say that I can.
I've also got DVD authoring capabilities in Wavelab 5.0. I'm real curious to
know if it's really *that much better* than Paris at 44.1, both in a
scenario where I am tracking 96kHz and then doing a SRC to 44.1and comparing
this to Paris and also just comparing a small mix of a number of acoustic
instruments at 96kHz in SX vs the same bunch of instruments in Paris at
44.1.
The Multiface should be here mid week and I'm sure I'll have to do a bit of
IRQ chasing to get my DAW happy with this and the existing pair of HDSP
9652's.
I'll keep the group posted about this and if someone else has done/is doing
this already, I'd be really interested in hearing your impressions of the
comparisons.
Rick, Dedric, Dave, Gene.........you guys tried this yet?
DeejI talked to Mr Shiny Box a couple of weeks ago about these. I may get a
couple of his hotrodded cinemag models. I've been real happy with the NADY
on fiddle and I've played around with it a bit on electric guitar and liked
what I heard. I'll bet the Cinemags rock. I also talked to him about
building me a couple of those cool brass tube mic shells for my pair of
Mojave's. That guy is quite a talented fellow.
;o)
"John Macy" <spamlessjohn@johnmacy.com> wrote in message
news:42e3186d$1@linux...
>
> Weren't you liking the Nady Chinese ribbon
> mic? We tried out the PPA version and liked it, and
> then found yet another rebadged version from
>
> www.shinybox.com
>
> We bought a couple, and they are pretty cool, and
> look better (round grill instead of the wedge, and a
> nice small ShinyBox logo, and the XLR is mounted on
> the rear instead of the attached cable. Best yet, he
> sells them for $165, including the bad and a nice,
> vertical metal case, too. He also has a modded model
> with a Cinemag output tranny, and is working on some
> ribbons mods. I spoke with him on the phones and he
> seems really cool, too.
>
> Anyway, better packaging and a better price :)I got the regulars and am going to experiment
with output trannys--he's real helpful about
it, and just said to order the trannys right
from Cinemag--he doen't mark them up really...
I got some nice acoustic sounds out of it the other day,
and should be nice on drum room mics, too...
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I talked to Mr Shiny Box a couple of weeks ago about these. I may get a
>couple of his hotrodded cinemag models. I've been real happy with the NADY
>on fiddle and I've played around with it a bit on electric guitar and liked
>what I heard. I'll bet the Cinemags rock. I also talked to him about
>building me a couple of those cool brass tube mic shells for my pair of
>Mojave's. That guy is quite a talented fellow.
>
>;o)
>
>"John Macy" <spamlessjohn@johnmacy.com> wrote in message
>news:42e3186d$1@linux...
>>
>> Weren't you liking the Nady Chinese ribbon
>> mic? We tried out the PPA version and liked it, and
>> then found yet another rebadged version from
>>
>> www.shinybox.com
>>
>> We bought a couple, and they are pretty cool, and
>> look better (round grill instead of the wedge, and a
>> nice small ShinyBox logo, and the XLR is mounted on
>> the rear instead of the attached cable. Best yet, he
>> sells them for $165, including the bad and a nice,
>> vertical metal case, too. He also has a modded model
>> with a Cinemag output tranny, and is working on some
>> ribbons mods. I spoke with him on the phones and he
>> seems really cool, too.
>>
>> Anyway, better packaging and a better price :)
>
>He certainly looks like he should be encouraged...
I had a tour of the Rode factory here in Sydney, last Wednesday... WOW.
All major componants are manufactured there, including and especially the
capsules, as are the bodies and fittings of all the mics and accesories that
they make.
Very impressive, and, they listened, and in fact welcomed feedback and ideas
regarding development.
Many of you guys know that my main gig is as a location Sound Recordist,
(Mixer in the US), and I neaded to buy a new shotgun mic, that in Australia,
are around AU$2000.
Rode have just released 3 that are specifically for TV / Film production
work and are priced at around AU$350.
I bought one, (NTG-1), and I love it, and, whats more, so do my clients....
They've also released new capsules for their NT-5 range, as well as selling
them as a single unit.
I met Jim Freedman, who owns the company, (a real ocka (Aussie) ) and a
great character.
That is a company that deserves to do well, and will,
--
Martin Harrington
www.lendanear-sound.com
"John Macy" <spamlessjohn@johnmacy.com> wrote in message
news:42e3186d$1@linux...
>
> Weren't you liking the Nady Chinese ribbon
> mic? We tried out the PPA version and liked it, and
> then found yet another rebadged version from
>
> www.shinybox.com
>
> We bought a couple, and they are pretty cool, and
> look better (round grill instead of the wedge, and a
> nice small ShinyBox logo, and the XLR is mounted on
> the rear instead of the attached cable. Best yet, he
> sells them for $165, including the bad and a nice,
> vertical metal case, too. He also has a modded model
> with a Cinemag output tranny, and is working on some
> ribbons mods. I spoke with him on the phones and he
> seems really cool, too.
>
> Anyway, better packaging and a better price :)The original Rode Classic is one of my favorite mics, hands down. It's got
that 3D thing going on in spades. I also like my NTV and my NT5's. Glad to
hear that they've finally come out with some variety in the capsules. I'll
have to look into this.
"Martin Harrington" <lendan@bigpond.net.au> wrote in message
news:42e31dc4@linux...
> He certainly looks like he should be encouraged...
> I had a tour of the Rode factory here in Sydney, last Wednesday... WOW.
> All major componants are manufactured there, including and especially the
> capsules, as are the bodies and fittings of all the mics and accesories
that
> they make.
> Very impressive, and, they listened, and in fact welcomed feedback and
ideas
> regarding development.
> Many of you guys know that my main gig is as a location Sound Recordist,
> (Mixer in the US), and I neaded to buy a new shotgun mic, that in
Australia,
> are around AU$2000.
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| Re: Bomb attacks in London England [message #55574 is a reply to message #55568] |
Tue, 12 July 2005 04:16 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
tracking 96kHz and then doing a SRC to 44.1and comparing
>this to Paris and also just comparing a small mix of a number of acoustic
>instruments at 96kHz in SX vs the same bunch of instruments in Paris at
>44.1.
>
>The Multiface should be here mid week and I'm sure I'll have to do a bit
of
>IRQ chasing to get my DAW happy with this and the existing pair of HDSP
>9652's.
>
>I'll keep the group posted about this and if someone else has done/is doing
>this already, I'd be really interested in hearing your impressions of the
>comparisons.
>
>Rick, Dedric, Dave, Gene.........you guys tried this yet?
>
>Deej
>
>Thanks Gene. that's interesting.
I have been playing around with hybridized Paris setups that include some
96 with mixed results.
Are you doing some kind of *real time* SRC?
DJ
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:42e32600$1@linux...
>
> I'm a fan of 96 and I consider it the last remaining "Paris Gap".
> I hear subtle improvements at 96 for small ensemble acoustic recordings.
> This is only apparent under "high end" recording situations like a good
stereo
> mic pair on a string quartet or a small folk group. By the time you
convert
> back to 44.1, any real improvement is modest, but the original 96 masters
> are definitely superior.
>
> Where I here a dramatic improvement with 96 (or other high sample rates)
> is when I use plugins. HydraTone is way better at 96 and starts to sound
> like high-end analog equipment. Others like the Sony Oxford plugs, or the
> TC VSS3 reverb running on Powercore also benefit dramatically. This is
frequently
> not subtle at all. Another place where the change is dramatic is with some
> soft synths like FM7, which sounds far better at 96 (this is not true of
> all synths).
> I have been playing around with hybridized Paris setups that include some
> 96 with mixed results.
> Gene
>
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >I'll bet some of you have probably done this already, but I'm been
curious
> >for years about the *real deal* with native DAWs at 96kHz vs Paris at
> >44.1kHz. I've heard 96kHz recordings done in both Nuendo and ProTools HD
> but
> >I've just never been able to get them into some sort of A/B situation in
> my
> >own studio. I've got Mytek 96kHz A/D converter here and I've spent part
> of
> >the day getting this happening in a situation where I can actually track
> to
> >SX and achieve a hi rez D/A conversion so I can use my headphone
monitoring
> >system in a real life tracking scenario. I've also purchased an RME
> >Multiface and PCI card which will be integrated into the dual DAW
situation
> >I've got going here and will also provide me the capability of doing
limited
> >(10 tracks simultaneously) tracking sessions at 96kHz - gotta' be able to
> >advertize this. I'm one of two studios that can't do hi rez and I feel
like
> >I need the capability, if for no other reason than to just say that I
can.
> >I've also got DVD authoring capabilities in Wavelab 5.0. I'm real curious
> to
> >know if it's really *that much better* than Paris at 44.1, both in a
> >scenario where I am tracking 96kHz and then doing a SRC to 44.1and
comparing
> >this to Paris and also just comparing a small mix of a number of acoustic
> >instruments at 96kHz in SX vs the same bunch of instruments in Paris at
> >44.1.
> >
> >The Multiface should be here mid week and I'm sure I'll have to do a bit
> of
> >IRQ chasing to get my DAW happy with this and the existing pair of HDSP
> >9652's.
> >
> >I'll keep the group posted about this and if someone else has done/is
doing
> >this already, I'd be really interested in hearing your impressions of the
> >comparisons.
> >
> >Rick, Dedric, Dave, Gene.........you guys tried this yet?
> >
> >Deej
> >
> >
>http://www.antarestech.com/products/avox.htmlfor most of the rock stuff we stay at 48k. on acoustic stuff and low
track counts it's i ether 88.2 or 96k. the biggest limiting factor
for me is with my POS mac, it's difficult to get decent track counts
above 48k. the only work around on that has been the purchase of
external hardware to reduce the use of plugins. so all comps and
verbs are done externally along with a bit of the eq.
oddly enough (or not) i can do more with 96k (track count, mixing in
sx2) on my 3 yr. old 2.6ghz pc than i can on my dual 1.25 g4. i've
been experimenting with 192k / 4 mic drum recording on this pc with
the lynx2. i must say it's pretty impressive for it's detail...and
disc usage. i can also run more instances of vst instruments on the
pc than my friend can on his dual 2.0 g5...go figure.
On Sat, 23 Jul 2005 22:28:57 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I'll bet some of you have probably done this already, but I'm been curious
>for years about the *real deal* with native DAWs at 96kHz vs Paris at
>44.1kHz. I've heard 96kHz recordings done in both Nuendo and ProTools HD but
>I've just never been able to get them into some sort of A/B situation in my
>own studio. I've got Mytek 96kHz A/D converter here and I've spent part of
>the day getting this happening in a situation where I can actually track to
>SX and achieve a hi rez D/A conversion so I can use my headphone monitoring
>system in a real life tracking scenario. I've also purchased an RME
>Multiface and PCI card which will be integrated into the dual DAW situation
>I've got going here and will also provide me the capability of doing limited
>(10 tracks simultaneously) tracking sessions at 96kHz - gotta' be able to
>advertize this. I'm one of two studios that can't do hi rez and I feel like
>I need the capability, if for no other reason than to just say that I can.
>I've also got DVD authoring capabilities in Wavelab 5.0. I'm real curious to
>know if it's really *that much better* than Paris at 44.1, both in a
>scenario where I am tracking 96kHz and then doing a SRC to 44.1and comparing
>this to Paris and also just comparing a small mix of a number of acoustic
>instruments at 96kHz in SX vs the same bunch of instruments in Paris at
>44.1.
>
>The Multiface should be here mid week and I'm sure I'll have to do a bit of
>IRQ chasing to get my DAW happy with this and the existing pair of HDSP
>9652's.
>
>I'll keep the group posted about this and if someone else has done/is doing
>this already, I'd be really interested in hearing your impressions of the
>comparisons.
>
>Rick, Dedric, Dave, Gene.........you guys tried this yet?
>
>Deej
>ahhh...more even people who suck more in a live performance. think
they'll make a hardware version so they won't? then again, couple
that with auto tune or melodyne and i could be the next billy
idol...remember, xmas is just around the corner unky D.
On Sun, 24 Jul 2005 01:32:34 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>http://www.antarestech.com/products/avox.html
>is that all it said?one more step towards the complete elimination of humans
wonder what a guitar would sound like pushed through it
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42e343ed@linux...
> http://www.antarestech.com/products/avox.html
>
>does anybody know what happened to the news group??
On 24 Jul 2005 11:35:07 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>I hope they get it back on soon or we might go bye bye for a bit...
>
>Ironically, the power came back on in time, but the UPS refused to recognise
>this and hence a couple of minutes after the power came back on, the UPS
>powered everything down anyhow. ;o)
>
>But we're all good now. :o)
>
>Cheers,
>Kim."DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Thanks Gene. that's interesting.
>
>Are you doing some kind of *real time* SRC?
Well, I’ve played with it using A/D converters.
My best results so far have been to start projects in DP at 96, do some “pre
mixing” in DP and render the best sounding mix I can get in DP to individual
96 files, then do batch conversion to 44.1 using Barbabatch and run the 44.1
files from DP through Paris or transfer the files and mix in Paris.
This is a lot of work but definitely adds depth and sheen to the final mix
despite the extra conversion.
The quality of your conversion will make-or-break this concept. Barbabatch
is the best I’ve ever used.
Gene> idol...remember, xmas is just around the corner unky D.
.........and so the the legendary CD. It was mailed Friday.
;o)
"rick" <parnell68@hotmail.com> wrote in message
news:g2t6e1pilovh32l7t46j8lp1d2g5oflv3n@4ax.com...
> ahhh...more even people who suck more in a live performance. think
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| Re: Bomb attacks in London England [message #55598 is a reply to message #55430] |
Tue, 12 July 2005 14:31 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
his same thing started happening
> >
> > when I
> >
> >>>was using 2 x MECs and a 442.
> >>>
> >>>I thought I had a bad EDS card yesterday and I sent TheSoniq the money
> >
> > for
> >
> >>>another one. Then the system started working normally again so I called
> >
> > him
> >
> >>>and told him to hold off. I don't know if this is a card issue or not,
> >
> > but
> >
> >>>I'm not gonna' get caught with my pants down so I'm going to tell him
to
> >>>send it on.
> >>>
> >>>Grrrrr...........
> >>>
> >>>;o(
> >>>
> >>>
> >
> >
> >Turned everything off and took a break. Booted back up and the same crap
started happening again. Switched submix off, then back on (something I
haven't tried yet). It's working again.
This is like chasing a ghost around.
So far, temporary fixes nave been:
1. Flipping from WC to internal and then back again (worked for a while,
then stopped)
2. Switching Card C from card to virtual (worked for a while, then stopped)
3. Terminating the BNC outputs (worked once, then stopped)
4. Turning Submix B off, then on again. Maybe this is the
ticket..........but I doubt it, if history is any indicator.
Still plugging away here.
;o{
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42ebbbe8@linux...
> It gets even wierder. I have tested every card individually and
combinations
> of every cable between two cards. Everything worked fine. no matter which
> cards where connected together with which cables. The problem started
> rearing it's ugly head in a consistent way when I would add the third
card.
> Card B would not play.
>
> I have never done this before, because things were working fine until
> recently and my methodology had been based on the theory that the MEC
clock
> outs were self terminating if they didn't see another device.
>
> Just for grins, I just terminated the BNC outs of each MEC with 75ohm
> resistor caps.
>
> It's working now. I don't have enough time on it to be convinced that this
> is going to be the final solution, but it looks like the BNC out on MEC 2
> may have been spewing..
>
> I'm wondering if aging MECs are sort of like boats. When they get old,
they
> start getting leaky.
>
> I'm going to do some major testing of this today and I'll be back later.
>
> ;o)
>
> "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> news:42eb93fa$1@linux...
> > I vote for ribbon cables... do you have any Cramolin or
> > similar cleaner around? Try applying some to a seperate
> > ribbon connector (one not bing used for Paris) then work
> > that connector over the pins on the card... kind of like an
> > applicator. You could even chop an old IDE cable end in half
> > to use. This will wet the pins on the card and burnish
> > the contacts without loading up your jumper ribbons with
> > cleaning solution.
> >
> > David.
> >
> > DJ wrote:
> > > Looks like it's a bad card or bad ribbon cable(s). Just booted the
> system
> > > and now the same thing is happening. It's happening on Submix B now
> (which
> > > was switched to card C last night). I've done enough testing to be
> pretty
> > > sure it's not one of the HD SCSI cables or one of the MECs.
> > >
> > > When loading my default .ppj, I'm getting a digital pulse in the
global
> > > fader. The only thing that stops this is switching the submix that is
> > > assigned to card C to virtual and then back to card. This stops the
> noise,
> > > but after doing this, no audio will play through the submix that card
C
> is
> > > assigned to.
> > >
> > > I guess I've got more testing to do. First I'm going to pull card B,
> replace
> > > it with card C and see if I have any problems with playback on either
> MEC B
> > > or C.
> > >
> > > If it won't play on either MEC, then it's likely the card. If it plays
> on
> > > one MEC but not the other, then it's likely the MEC.
> > >
> > > If it plays on both MECs, I'm going to start switching ribbon cables
> between
> > > the cards and see if one of them is the culprit.
> > >
> > > If I still have no problems, I'll be stumped 'cause cards A & B work
> > > fine.......or so it seems right now.
> > >
> > > Maybe I'll get finished with this sometime today.
> > >
> > > ;o(
> > >
> > >
> > > "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> > > news:42eb101e@linux...
> > >
> > >>The NICE thing about Paris is that it totally doesn't matter
> > >>which MEC is on what card... it is completely assignable in
> > >>the global master window... you can literally shuffle your
> > >>MEC's around then reassign them without losing anything in
> > >>the way of routing.
> > >>
> > >>David.
> > >>
> > >>DJ wrote:
> > >>
> > >>>I've been working for about 6 months with 3 EDS cards which are
hooked
> > >
> > > up to
> > >
> > >>>three MECs. The last MEC doesn't have any analog I/O cards, just ADAT
> > >
> > > cards.
> > >
> > >>>I usually track to the first two MECs.
> > >>>
> > >>>Well, for some reason I can't fathom, suddenly MEC 3 stopped
> > >>>sycing.........lots of digital hash. switching WC on and off would
sync
> > >
> > > it
> > >
> > >>>back up. Then that stopped working. The switching the EDS card on
> Submix
> > >
> > > 3
> > >
> > >>>in the global window to virtual and then back to card worked. Now
that
> > >
> > > has
> > >
> > >>>stopped working. I thought it might be a bad cable so I switched the
> > >
> > > SCSI
> > >
> > >>>cable from MEC 3 to Card B and attached the cable from MEC 2 to card
C
> > >>>figuring that if it was either a card or cable, I could trace the
> > >
> > > problem.,
> > >
> > >>>Well, I found that that hooking this MEC #3 (which was previously
> > >
> > > attached
> > >
> > >>>Card C) to Card B and attaching Card C to MEC #2 (which was
previously
> > >>>attached MEC #3) totlly solves the problem.
> > >>>Rock solid, no sync problems and absolutely no discernable reason for
> > >
> > > this
> > >
> > >>>behaviour. However, I did add an RME multiface to my Cubase SX system
> > >>>yesterday and all of these devices are sharing a common clock so I'm
> > >>>wondering if, by some cursed digital happenstance, this might have
> > >
> > > caused
> > >
> > >>>the problem. I sort of doubt it though because the system was
starting
> > >
> > > to
> > >
> > >>>act erratic before I hooked up the Multiface to the SX DAW.
> > >>>
> > >>>I've got project in the works here that has 12 songs with lots of
> tracks
> > >
> > > on
> > >
> > >>>each. There's still lots more tracking/dubs to do on this project and
> > >
> > > I've
> > >
> > >>>got a producer coming in tomorrow to discuss a label project. I'm
going
> > >
> > > be
> > >
> > >>>jacking around with reconfiguring my patchbay presets tonight to
> reflect
> > >
> > > the
> > >
> > >>>new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song on the
> > >>>project I'm working on is playing back from the wrong &^$#^&^%&^&^%$
> > >
> > > submix.
> > >
> > >>>This stuff pisses me off to no end. This same thing started happening
> > >
> > > when I
> > >
> > >>>was using 2 x MECs and a 442.
> > >>>
> > >>>I thought I had a bad EDS card yesterday and I sent TheSoniq the
money
> > >
> > > for
> > >
> > >>>another one. Then the system started working normally again so I
called
> > >
> > > him
> > >
> > >>>and told him to hold off. I don't know if this is a card issue or
not,
> > >
> > > but
> > >
> > >>>I'm not gonna' get caught with my pants down so I'm going to tell him
> to
> > >>>send it on.
> > >>>
> > >>>Grrrrr...........
> > >>>
> > >>>;o(
> > >>>
> > >>>
> > >
> > >
> > >
>
>Bad SCSI cable between MEC 2 and card B. It was getting intermittant. I have
replaced it with a new cable and so far I have done a number of reboots,
opening/closing of projects,etc and so far, so good. I guess it's always
possible that this may be only one of *more than one* problems, but with all
of the testing I've been doing and the consistent symptoms, this makes way
more sense than anything else.
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
news:42eb9137$1@linux...
>
> sounds like a card to me. I had that digi pulse thing happen and it was a
> card, but the card worked fine by itself...only got the hash when hooked
> in a multi card system
> rod
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >Looks like it's a bad card or bad ribbon cable(s). Just booted the system
> >and now the same thing is happening. It's happening on Submix B now
(which
> >was switched to card C last night). I've done enough testing to be pretty
> >sure it's not one of the HD SCSI cables or one of the MECs.
> >
> >When loading my default .ppj, I'm getting a digital pulse in the global
> >fader. The only thing that stops this is switching the submix that is
> >assigned to card C to virtual and then back to card. This stops the
noise,
> >but after doing this, no audio will play through the submix that card C
> is
> >assigned to.
> >
> >I guess I've got more testing to do. First I'm going to pull card B,
replace
> >it with card C and see if I have any problems with playback on either MEC
> B
> >or C.
> >
> >If it won't play on either MEC, then it's likely the card. If it plays on
> >one MEC but not the other, then it's likely the MEC.
> >
> >If it plays on both MECs, I'm going to start switching ribbon cables
between
> >the cards and see if one of them is the culprit.
> >
> >If I still have no problems, I'll be stumped 'cause cards A & B work
> >fine.......or so it seems right now.
> >
> >Maybe I'll get finished with this sometime today.
> >
> >;o(
> >
> >
> >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> >news:42eb101e@linux...
> >> The NICE thing about Paris is that it totally doesn't matter
> >> which MEC is on what card... it is completely assignable in
> >> the global master window... you can literally shuffle your
> >> MEC's around then reassign them without losing anything in
> >> the way of routing.
> >>
> >> David.
> >>
> >> DJ wrote:
> >> > I've been working for about 6 months with 3 EDS cards which are
hooked
> >up to
> >> > three MECs. The last MEC doesn't have any analog I/O cards, just ADAT
> >cards.
> >> > I usually track to the first two MECs.
> >> >
> >> > Well, f
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| Re: Bomb attacks in London England [message #55601 is a reply to message #55598] |
Tue, 12 July 2005 16:19 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
t; >> > each. There's still lots more tracking/dubs to do on this project and
> >I've
> >> > got a producer coming in tomorrow to discuss a label project. I'm
going
> >be
> >> > jacking around with reconfiguring my patchbay presets tonight to
reflect
> >the
> >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song on the
> >> > project I'm working on is playing back from the wrong &^$#^&^%&^&^%$
> >submix.
> >> >
> >> > This stuff pisses me off to no end. This same thing started happening
> >when I
> >> > was using 2 x MECs and a 442.
> >> >
> >> > I thought I had a bad EDS card yesterday and I sent TheSoniq the
money
> >for
> >> > another one. Then the system started working normally again so I
called
> >him
> >> > and told him to hold off. I don't know if this is a card issue or
not,
> >but
> >> > I'm not gonna' get caught with my pants down so I'm going to tell him
> to
> >> > send it on.
> >> >
> >> > Grrrrr...........
> >> >
> >> > ;o(
> >> >
> >> >
> >
> >
>While I have no intention of giving up my PARIS system, I made wish to supplement
it with a modest Pro Tools setup. Many moons ago I owned a Mac, but have
long been a PC guy. Does LE work as well on the PC as it does on the Mac?Is there any way to stop xp from restarting when closing Paris 2.2?
ThanksIt's gotta be the ribbon cables. that's the only thing it could be.
Back to the drawing board.
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42ebeac9@linux...
> Bad SCSI cable between MEC 2 and card B. It was getting intermittant. I
have
> replaced it with a new cable and so far I have done a number of reboots,
> opening/closing of projects,etc and so far, so good. I guess it's always
> possible that this may be only one of *more than one* problems, but with
all
> of the testing I've been doing and the consistent symptoms, this makes way
> more sense than anything else.
>
>
> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
> news:42eb9137$1@linux...
> >
> > sounds like a card to me. I had that digi pulse thing happen and it was
a
> > card, but the card worked fine by itself...only got the hash when hooked
> > in a multi card system
> > rod
> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> > >Looks like it's a bad card or bad ribbon cable(s). Just booted the
system
> > >and now the same thing is happening. It's happening on Submix B now
> (which
> > >was switched to card C last night). I've done enough testing to be
pretty
> > >sure it's not one of the HD SCSI cables or one of the MECs.
> > >
> > >When loading my default .ppj, I'm getting a digital pulse in the global
> > >fader. The only thing that stops this is switching the submix that is
> > >assigned to card C to virtual and then back to card. This stops the
> noise,
> > >but after doing this, no audio will play through the submix that card C
> > is
> > >assigned to.
> > >
> > >I guess I've got more testing to do. First I'm going to pull card B,
> replace
> > >it with card C and see if I have any problems with playback on either
MEC
> > B
> > >or C.
> > >
> > >If it won't play on either MEC, then it's likely the card. If it plays
on
> > >one MEC but not the other, then it's likely the MEC.
> > >
> > >If it plays on both MECs, I'm going to start switching ribbon cables
> between
> > >the cards and see if one of them is the culprit.
> > >
> > >If I still have no problems, I'll be stumped 'cause cards A & B work
> > >fine.......or so it seems right now.
> > >
> > >Maybe I'll get finished with this sometime today.
> > >
> > >;o(
> > >
> > >
> > >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> > >news:42eb101e@linux...
> > >> The NICE thing about Paris is that it totally doesn't matter
> > >> which MEC is on what card... it is completely assignable in
> > >> the global master window... you can literally shuffle your
> > >> MEC's around then reassign them without losing anything in
> > >> the way of routing.
> > >>
> > >> David.
> > >>
> > >> DJ wrote:
> > >> > I've been working for about 6 months with 3 EDS cards which are
> hooked
> > >up to
> > >> > three MECs. The last MEC doesn't have any analog I/O cards, just
ADAT
> > >cards.
> > >> > I usually track to the first two MECs.
> > >> >
> > >> > Well, for some reason I can't fathom, suddenly MEC 3 stopped
> > >> > sycing.........lots of digital hash. switching WC on and off would
> sync
> > >it
> > >> > back up. Then that stopped working. The switching the EDS card on
> Submix
> > >3
> > >> > in the global window to virtual and then back to card worked. Now
> that
> > >has
> > >> > stopped working. I thought it might be a bad cable so I switched
the
> > >SCSI
> > >> > cable from MEC 3 to Card B and attached the cable from MEC 2 to
card
> > C
> > >> > figuring that if it was either a card or cable, I could trace the
> > >problem.,
> > >> > Well, I found that that hooking this MEC #3 (which was previously
> > >attached
> > >> > Card C) to Card B and attaching Card C to MEC #2 (which was
> previously
> > >> > attached MEC #3) totlly solves the problem.
> > >> > Rock solid, no sync problems and absolutely no discernable reason
for
> > >this
> > >> > behaviour. However, I did add an RME multiface to my Cubase SX
system
> > >> > yesterday and all of these devices are sharing a common clock so
I'm
> > >> > wondering if, by some cursed digital happenstance, this might have
> > >caused
> > >> > the problem. I sort of doubt it though because the system was
> starting
> > >to
> > >> > act erratic before I hooked up the Multiface to the SX DAW.
> > >> >
> > >> > I've got project in the works here that has 12 songs with lots of
> tracks
> > >on
> > >> > each. There's still lots more tracking/dubs to do on this project
and
> > >I've
> > >> > got a producer coming in tomorrow to discuss a label project. I'm
> going
> > >be
> > >> > jacking around with reconfiguring my patchbay presets tonight to
> reflect
> > >the
> > >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song on
the
> > >> > project I'm working on is playing back from the wrong
&^$#^&^%&^&^%$
> > >submix.
> > >> >
> > >> > This stuff pisses me off to no end. This same thing started
happening
> > >when I
> > >> > was using 2 x MECs and a 442.
> > >> >
> > >> > I thought I had a bad EDS card yesterday and I sent TheSoniq the
> money
> > >for
> > >> > another one. Then the system started working normally again so I
> called
> > >him
> > >> > and told him to hold off. I don't know if this is a card issue or
> not,
> > >but
> > >> > I'm not gonna' get caught with my pants down so I'm going to tell
him
> > to
> > >> > send it on.
> > >> >
> > >> > Grrrrr...........
> > >> >
> > >> > ;o(
> > >> >
> > >> >
> > >
> > >
> >
>
>I have to manually shut my comp down to get 3.0 to close.
"Josh Herzog" <pruner1@hotmail.com> wrote:
>
>Is there any way to stop xp from restarting when closing Paris 2.2?
>
>ThanksI have PTLE running just fine on an Athalon 3200 in my office at home. Mainly
used for importing sessions and helping me get
more fluid in PT as I track into it a lot be default....
Not giving up my Paris systems, either :)
"Gary Flanigan" <gary_flanigan@ce9.uscourts.gov> wrote:
>
>While I have no intention of giving up my PARIS system, I made wish to supplement
>it with a modest Pro Tools setup. Many moons ago I owned a Mac, but have
>long been a PC guy. Does LE work as well on the PC as it does on the Mac?The biggest problem is remembering to check the
"enforce PC compatibility" at the final save so
it will open on a PC (assuming it is coming from a mac)
"John Macy" <spamlessjohn@johnmacymacy.com> wrote:
>
>I have PTLE running just fine on an Athalon 3200 in my office at home.
Mainly
The
>>While I have no intention of giving up my PARIS system, I made wish to
supplement
>>it with a modest Pro Tools setup. Many moons ago I owned a Mac, but have
>>long been a PC guy. Does LE work as well on the PC as it does on the Mac?
>Wow! I can't really justify the expenditure...and I'd have to rearrange
space...but it is almost too tempting! Thanks for the link.
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42d97a82@linux...
> http://www.platesonics.com/index.html
>
> ...........now go build a sound-proof room
>
> ;o)
>
>Sad to hear, thanks for the post.
(As always, behind the times...)
"Mark McCurdy" <gmmccurdy@hotmail.com> wrote in message
news:42de74b2@linux...
> He gave it all he could Capn
>
> http://www.cnn.com/2005/SHOWBIZ/TV/07/20/obit.doohan.ap/inde x.html
>
>Nothing with it itself, meaning I like CW/Sonar, but just that the developer
of PARIS isn't using...well, PARIS! Particularly as he claimed that he had
his own version up and running and it was "great" (that was the one post of
his that really cheesed me, but, be that as it may, if he really did/does
have PARIS 4 running so great, I'd think he'd be using his own home-brew
version of it).
"chuck duffy" <c@c.com> wrote in message news:42d68b23$1@linux...
>
> I don't understand what is sad about that. PARIS was developed in code
warrior.
> The MAC versions of the plug-ins were developed with code warrior.
>
> "zornwil" <wilson.zorn@takeout_asterick_theobvious.com> wrote:
> >That's just sad.
> >
> >"Michael Yanoska" <yanoska@cox.net> wrote in message
> >news:42595563$1@linux...
> >>
> >> Apparently this is what has Edmund's interest lately:
> >>
> >> http://www.codecomments.com/archive241-2004-6-222597.html
> >
> >
>Uh, yeah, I should read others' replies before posting. :)
But anyway, that is what I meant, you got it justcron.
"justcron" <justcron@hydrorecords.compound> wrote in message
news:42d69147$1@linux...
>
> greetings sir.
>
>
> Its kinda sad that edmund has to mess around with CW instead of his baby
> PARIS...
>
>
> "chuck duffy" <c@c.com> wrote in message news:42d68b23$1@linux...
> >
> > I don't understand what is sad about that. PARIS was developed in code
> > warrior.
> > The MAC versions of the plug-ins were developed with code warrior.
> >
> > "zornwil" <wilson.zorn@takeout_asterick_theobvious.com> wrote:
> >>That's just sad.
> >>
> >>"Michael Yanoska" <yanoska@cox.net> wrote in message
> >>news:42595563$1@linux...
> >>>
> >>> Apparently this is what has Edmund's interest lately:
> >>>
> >>> http://www.codecomments.com/archive241-2004-6-222597.html
> >>
> >>
> >
>
>Don't turn anything off......................
--
Martin Harrington
www.lendanear-sound.com
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42ebd9c4@linux...
> Turned everything off and took a break. Booted back up and the same crap
> started happening again. Switched submix off, then back on (something I
> haven't tried yet). It's working again.
>
> This is like chasing a ghost around.
>
> So far, temporary fixes nave been:
>
> 1. Flipping from WC to internal and then back again (worked for a while,
|
|
|
|
| Re: Bomb attacks in London England [message #55602 is a reply to message #55601] |
Tue, 12 July 2005 16:33 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
r />
> then stopped)
>
> 2. Switching Card C from card to virtual (worked for a while, then
> stopped)
>
> 3. Terminating the BNC outputs (worked once, then stopped)
>
> 4. Turning Submix B off, then on again. Maybe this is the
> ticket..........but I doubt it, if history is any indicator.
>
> Still plugging away here.
>
> ;o{
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:42ebbbe8@linux...
>> It gets even wierder. I have tested every card individually and
> combinations
>> of every cable between two cards. Everything worked fine. no matter which
>> cards where connected together with which cables. The problem started
>> rearing it's ugly head in a consistent way when I would add the third
> card.
>> Card B would not play.
>>
>> I have never done this before, because things were working fine until
>> recently and my methodology had been based on the theory that the MEC
> clock
>> outs were self terminating if they didn't see another device.
>>
>> Just for grins, I just terminated the BNC outs of each MEC with 75ohm
>> resistor caps.
>>
>> It's working now. I don't have enough time on it to be convinced that
>> this
>> is going to be the final solution, but it looks like the BNC out on MEC 2
>> may have been spewing..
>>
>> I'm wondering if aging MECs are sort of like boats. When they get old,
> they
>> start getting leaky.
>>
>> I'm going to do some major testing of this today and I'll be back later.
>>
>> ;o)
>>
>> "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
>> news:42eb93fa$1@linux...
>> > I vote for ribbon cables... do you have any Cramolin or
>> > similar cleaner around? Try applying some to a seperate
>> > ribbon connector (one not bing used for Paris) then work
>> > that connector over the pins on the card... kind of like an
>> > applicator. You could even chop an old IDE cable end in half
>> > to use. This will wet the pins on the card and burnish
>> > the contacts without loading up your jumper ribbons with
>> > cleaning solution.
>> >
>> > David.
>> >
>> > DJ wrote:
>> > > Looks like it's a bad card or bad ribbon cable(s). Just booted the
>> system
>> > > and now the same thing is happening. It's happening on Submix B now
>> (which
>> > > was switched to card C last night). I've done enough testing to be
>> pretty
>> > > sure it's not one of the HD SCSI cables or one of the MECs.
>> > >
>> > > When loading my default .ppj, I'm getting a digital pulse in the
> global
>> > > fader. The only thing that stops this is switching the submix that is
>> > > assigned to card C to virtual and then back to card. This stops the
>> noise,
>> > > but after doing this, no audio will play through the submix that card
> C
>> is
>> > > assigned to.
>> > >
>> > > I guess I've got more testing to do. First I'm going to pull card B,
>> replace
>> > > it with card C and see if I have any problems with playback on either
>> MEC B
>> > > or C.
>> > >
>> > > If it won't play on either MEC, then it's likely the card. If it
>> > > plays
>> on
>> > > one MEC but not the other, then it's likely the MEC.
>> > >
>> > > If it plays on both MECs, I'm going to start switching ribbon cables
>> between
>> > > the cards and see if one of them is the culprit.
>> > >
>> > > If I still have no problems, I'll be stumped 'cause cards A & B work
>> > > fine.......or so it seems right now.
>> > >
>> > > Maybe I'll get finished with this sometime today.
>> > >
>> > > ;o(
>> > >
>> > >
>> > > "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
>> > > news:42eb101e@linux...
>> > >
>> > >>The NICE thing about Paris is that it totally doesn't matter
>> > >>which MEC is on what card... it is completely assignable in
>> > >>the global master window... you can literally shuffle your
>> > >>MEC's around then reassign them without losing anything in
>> > >>the way of routing.
>> > >>
>> > >>David.
>> > >>
>> > >>DJ wrote:
>> > >>
>> > >>>I've been working for about 6 months with 3 EDS cards which are
> hooked
>> > >
>> > > up to
>> > >
>> > >>>three MECs. The last MEC doesn't have any analog I/O cards, just
>> > >>>ADAT
>> > >
>> > > cards.
>> > >
>> > >>>I usually track to the first two MECs.
>> > >>>
>> > >>>Well, for some reason I can't fathom, suddenly MEC 3 stopped
>> > >>>sycing.........lots of digital hash. switching WC on and off would
> sync
>> > >
>> > > it
>> > >
>> > >>>back up. Then that stopped working. The switching the EDS card on
>> Submix
>> > >
>> > > 3
>> > >
>> > >>>in the global window to virtual and then back to card worked. Now
> that
>> > >
>> > > has
>> > >
>> > >>>stopped working. I thought it might be a bad cable so I switched the
>> > >
>> > > SCSI
>> > >
>> > >>>cable from MEC 3 to Card B and attached the cable from MEC 2 to card
> C
>> > >>>figuring that if it was either a card or cable, I could trace the
>> > >
>> > > problem.,
>> > >
>> > >>>Well, I found that that hooking this MEC #3 (which was previously
>> > >
>> > > attached
>> > >
>> > >>>Card C) to Card B and attaching Card C to MEC #2 (which was
> previously
>> > >>>attached MEC #3) totlly solves the problem.
>> > >>>Rock solid, no sync problems and absolutely no discernable reason
>> > >>>for
>> > >
>> > > this
>> > >
>> > >>>behaviour. However, I did add an RME multiface to my Cubase SX
>> > >>>system
>> > >>>yesterday and all of these devices are sharing a common clock so I'm
>> > >>>wondering if, by some cursed digital happenstance, this might have
>> > >
>> > > caused
>> > >
>> > >>>the problem. I sort of doubt it though because the system was
> starting
>> > >
>> > > to
>> > >
>> > >>>act erratic before I hooked up the Multiface to the SX DAW.
>> > >>>
>> > >>>I've got project in the works here that has 12 songs with lots of
>> tracks
>> > >
>> > > on
>> > >
>> > >>>each. There's still lots more tracking/dubs to do on this project
>> > >>>and
>> > >
>> > > I've
>> > >
>> > >>>got a producer coming in tomorrow to discuss a label project. I'm
> going
>> > >
>> > > be
>> > >
>> > >>>jacking around with reconfiguring my patchbay presets tonight to
>> reflect
>> > >
>> > > the
>> > >
>> > >>>new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song on
>> > >>>the
>> > >>>project I'm working on is playing back from the wrong &^$#^&^%&^&^%$
>> > >
>> > > submix.
>> > >
>> > >>>This stuff pisses me off to no end. This same thing started
>> > >>>happening
>> > >
>> > > when I
>> > >
>> > >>>was using 2 x MECs and a 442.
>> > >>>
>> > >>>I thought I had a bad EDS card yesterday and I sent TheSoniq the
> money
>> > >
>> > > for
>> > >
>> > >>>another one. Then the system started working normally again so I
> called
>> > >
>> > > him
>> > >
>> > >>>and told him to hold off. I don't know if this is a card issue or
> not,
>> > >
>> > > but
>> > >
>> > >>>I'm not gonna' get caught with my pants down so I'm going to tell
>> > >>>him
>> to
>> > >>>send it on.
>> > >>>
>> > >>>Grrrrr...........
>> > >>>
>> > >>>;o(
>> > >>>
>> > >>>
>> > >
>> > >
>> > >
>>
>>
>
>D'oh!
"justcron" <justcron@hydrorecords.compound> wrote in message
news:42d9e6e3@linux...
> lol...
>
> "Craig Mitchell" <camitchell@cfl.rr.com> wrote in message
> news:BEFF3CF3.14463%camitchell@cfl.rr.com...
> >
> >
> > I think there is some confusion here between Codewarrior and CakeWalk.
> >
> >
> > Craig M
> >
> >
> >
> >
> > in article 42d6ac5e@linux, Mr Simplicity at animix_spamless_@animas.net
> > wrote on 7/14/05 2:03 PM:
> >
> >> Maybe he's sync'ing Cakewalk to Paris so he can use the Paris summing
> >> bus........
> >>
> >> ;o)
> >>
> >> "justcron" <justcron@hydrorecords.compound> wrote in message
> >> news:42d69147$1@linux...
> >>>
> >>> greetings sir.
> >>>
> >>>
> >>> Its kinda sad that edmund has to mess around with CW instead of his
baby
> >>> PARIS...
> >>>
> >>>
> >>> "chuck duffy" <c@c.com> wrote in message news:42d68b23$1@linux...
> >>>>
> >>>> I don't understand what is sad about that. PARIS was developed in
code
> >>>> warrior.
> >>>> The MAC versions of the plug-ins were developed with code warrior.
> >>>>
> >>>> "zornwil" <wilson.zorn@takeout_asterick_theobvious.com> wrote:
> >>>>> That's just sad.
> >>>>>
> >>>>> "Michael Yanoska" <yanoska@cox.net> wrote in message
> >>>>> news:42595563$1@linux...
> >>>>>>
> >>>>>> Apparently this is what has Edmund's interest lately:
> >>>>>>
> >>>>>> http://www.codecomments.com/archive241-2004-6-222597.html
> >>>>>
> >>>>>
> >>>>
> >>>
> >>>
> >>
> >>
> >
>
>I used to do this back in the test days to keep it from killing the OS by
save/close the project, wait 5 - 10 seconds, then kill the PARIS.EXE process
through the task manager (hit control + alt + delete keys). I don't have to
do this anymore, but it might help you out.
AA
"Josh Herzog" <pruner1@hotmail.com> wrote in message
news:42ec0825$1@linux...
>
> Is there any way to stop xp from restarting when closing Paris 2.2?
>
> Thanksdude, i'm so sorry!
On 30 Jul 2005 08:28:09 +1000, "scott h" <fresnelmusic@comcast.net>
wrote:
>
>I bent my F# once...
>
>the doctor gave me a topical creme and all was fine....
>
>
>
>
>
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>
>>Was playing my ol' (well, 4 years is a long time these days) Kawai MP-9000,
>>which has the fantastic feature of real wooden keys for a proper piano feel.
>>
>>And I heard a little bit of a noise when playing one of the F#'s, and the
>>F next to it. Closer examination showed that the F# has apparently, being
>>wood, decided to warp, and is rubbing against the F next door. Still plays
>>alright, for now...
>>
>>A call to the service centre tells me that it will cost probably between
>>$100 and $300 to fix it, just for labour. Mind you I called Kawai and they're
>>willing to sell me a new F# key if I can put it in myself...
>>
>>...where's that screwdriver?
>>
>>Cheers,
>>Kim.Cool quiet case:
http://www.arctic-cooling.com/pc_case2.php?idx=12&data=1 &disc=oh you poor poor fool you. there is no real slution...only synthetic
ones...sorry. oh yeah, check your ps. this seems to be the first
sign. or try backing off the ps load.
On Sat, 30 Jul 2005 17:25:40 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>It's gotta be the ribbon cables. that's the only thing it could be.
>
>Back to the drawing board.
>
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>news:42ebeac9@linux...
>> Bad SCSI cable between MEC 2 and card B. It was getting intermittant. I
>have
>> replaced it with a new cable and so far I have done a number of reboots,
>> opening/closing of projects,etc and so far, so good. I guess it's always
>> possible that this may be only one of *more than one* problems, but with
>all
>> of the testing I've been doing and the consistent symptoms, this makes way
>> more sense than anything else.
>>
>>
>> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>> news:42eb9137$1@linux...
>> >
>> > sounds like a card to me. I had that digi pulse thing happen and it was
>a
>> > card, but the card worked fine by itself...only got the hash when hooked
>&g
|
|
|
|
| Re: Bomb attacks in London England [message #55603 is a reply to message #55602] |
Tue, 12 July 2005 16:32 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
t; > in a multi card system
>> > rod
>> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> > >Looks like it's a bad card or bad ribbon cable(s). Just booted the
>system
>> > >and now the same thing is happening. It's happening on Submix B now
>> (which
>> > >was switched to card C last night). I've done enough testing to be
>pretty
>> > >sure it's not one of the HD SCSI cables or one of the MECs.
>> > >
>> > >When loading my default .ppj, I'm getting a digital pulse in the global
>> > >fader. The only thing that stops this is switching the submix that is
>> > >assigned to card C to virtual and then back to card. This stops the
>> noise,
>> > >but after doing this, no audio will play through the submix that card C
>> > is
>> > >assigned to.
>> > >
>> > >I guess I've got more testing to do. First I'm going to pull card B,
>> replace
>> > >it with card C and see if I have any problems with playback on either
>MEC
>> > B
>> > >or C.
>> > >
>> > >If it won't play on either MEC, then it's likely the card. If it plays
>on
>> > >one MEC but not the other, then it's likely the MEC.
>> > >
>> > >If it plays on both MECs, I'm going to start switching ribbon cables
>> between
>> > >the cards and see if one of them is the culprit.
>> > >
>> > >If I still have no problems, I'll be stumped 'cause cards A & B work
>> > >fine.......or so it seems right now.
>> > >
>> > >Maybe I'll get finished with this sometime today.
>> > >
>> > >;o(
>> > >
>> > >
>> > >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
>> > >news:42eb101e@linux...
>> > >> The NICE thing about Paris is that it totally doesn't matter
>> > >> which MEC is on what card... it is completely assignable in
>> > >> the global master window... you can literally shuffle your
>> > >> MEC's around then reassign them without losing anything in
>> > >> the way of routing.
>> > >>
>> > >> David.
>> > >>
>> > >> DJ wrote:
>> > >> > I've been working for about 6 months with 3 EDS cards which are
>> hooked
>> > >up to
>> > >> > three MECs. The last MEC doesn't have any analog I/O cards, just
>ADAT
>> > >cards.
>> > >> > I usually track to the first two MECs.
>> > >> >
>> > >> > Well, for some reason I can't fathom, suddenly MEC 3 stopped
>> > >> > sycing.........lots of digital hash. switching WC on and off would
>> sync
>> > >it
>> > >> > back up. Then that stopped working. The switching the EDS card on
>> Submix
>> > >3
>> > >> > in the global window to virtual and then back to card worked. Now
>> that
>> > >has
>> > >> > stopped working. I thought it might be a bad cable so I switched
>the
>> > >SCSI
>> > >> > cable from MEC 3 to Card B and attached the cable from MEC 2 to
>card
>> > C
>> > >> > figuring that if it was either a card or cable, I could trace the
>> > >problem.,
>> > >> > Well, I found that that hooking this MEC #3 (which was previously
>> > >attached
>> > >> > Card C) to Card B and attaching Card C to MEC #2 (which was
>> previously
>> > >> > attached MEC #3) totlly solves the problem.
>> > >> > Rock solid, no sync problems and absolutely no discernable reason
>for
>> > >this
>> > >> > behaviour. However, I did add an RME multiface to my Cubase SX
>system
>> > >> > yesterday and all of these devices are sharing a common clock so
>I'm
>> > >> > wondering if, by some cursed digital happenstance, this might have
>> > >caused
>> > >> > the problem. I sort of doubt it though because the system was
>> starting
>> > >to
>> > >> > act erratic before I hooked up the Multiface to the SX DAW.
>> > >> >
>> > >> > I've got project in the works here that has 12 songs with lots of
>> tracks
>> > >on
>> > >> > each. There's still lots more tracking/dubs to do on this project
>and
>> > >I've
>> > >> > got a producer coming in tomorrow to discuss a label project. I'm
>> going
>> > >be
>> > >> > jacking around with reconfiguring my patchbay presets tonight to
>> reflect
>> > >the
>> > >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song on
>the
>> > >> > project I'm working on is playing back from the wrong
>&^$#^&^%&^&^%$
>> > >submix.
>> > >> >
>> > >> > This stuff pisses me off to no end. This same thing started
>happening
>> > >when I
>> > >> > was using 2 x MECs and a 442.
>> > >> >
>> > >> > I thought I had a bad EDS card yesterday and I sent TheSoniq the
>> money
>> > >for
>> > >> > another one. Then the system started working normally again so I
>> called
>> > >him
>> > >> > and told him to hold off. I don't know if this is a card issue or
>> not,
>> > >but
>> > >> > I'm not gonna' get caught with my pants down so I'm going to tell
>him
>> > to
>> > >> > send it on.
>> > >> >
>> > >> > Grrrrr...........
>> > >> >
>> > >> > ;o(
>> > >> >
>> > >> >
>> > >
>> > >
>> >
>>
>>
>rick <parnell68@hotmail.com> wrote:
>down there big fellah...don't forget the brother whose fault it is
>always, is there to keep us safe from harm.
Hehe, that is true... assuming I worked out it was offline, which I wouldn't
have...
Cheers,
Kim.lynx aurora. i've got lynx two and the rme fw 800; the lynx (two) so
far is the closest to paris. i can only imagine what the aurora
sounds like.
On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
wrote:
>hi all
>i'm looking for an 8 channel converters to add to my paris.
>i need something quite good, that doesn't decrease the overall sound quality
>of the rig.
>i saw frontier design tango 24
>seems quite cheap on s/h
>does any1 know this one or could recommend me something else?
>i could also trade the adat card for an 8i card.
>thx anyone who answers
>cyrille
>Yeh, well we'll see. I've done a fair amount of dissassembly of things over
the years, but it can be quite a pain doing so on a complicated item.
From what I can tell though actually getting far enough in so that I can
at least make an assessment of what would be involved wont be that hard.
This guy says you simply undo the screws at the bottom and she opens up.
Have a look:
http://home.austin.rr.com/johner/action.htm
In any case I'd like to see what makes her tick. ;o)
Cheers
Kim
tubeguru <tubeguru@sbcglobal.net> wrote:
>The new key probably won't cost that much, (after all it's not a
>Sony...)but disassembling a keyboard can be quite involved. If you're
>accustomed to complicated dis and re-assembly it's not a big deal. Make
>sure you have more time than you bargained for and mark everything as
>you take it apart. Good luck!
>Mike
>
>Kim wrote:
>
>>Was playing my ol' (well, 4 years is a long time these days) Kawai MP-9000,
>>which has the fantastic feature of real wooden keys for a proper piano
feel.
>>
>>And I heard a little bit of a noise when playing one of the F#'s, and the
>>F next to it. Closer examination showed that the F# has apparently, being
>>wood, decided to warp, and is rubbing against the F next door. Still plays
>>alright, for now...
>>
>>A call to the service centre tells me that it will cost probably between
>>$100 and $300 to fix it, just for labour. Mind you I called Kawai and they're
>>willing to sell me a new F# key if I can put it in myself...
>>
>>....where's that screwdriver?
>>
>>Cheers,
>>Kim.
>>
>>I've not tried it, but I'll buy it immediately. I'm not so much into the RNP
(preamp), but the RNC is beyond amazing for the price.
Jimmy
"cujo" <chris@applemanstudio.com> wrote in message news:42eb9d5b$1@linux...
>
> ANyone tried this new RNLA yet?
> If so what are the verdicts?i have both (plus a whole lot more) let me say that i'm not impressed
with pt on a g5. i can do more on my 3yr. old pc with sx than i can
on a 2.0 g5 with pt le. but, then again i'm a jaded, prejudiced and
one sided. seriously though, macs ain't all that, they're just
another computer...no better and certainly no worse than anything else
out there if the os and the app coincide.
..
On 31 Jul 2005 08:57:33 +1000, "Gary Flanigan"
<gary_flanigan@ce9.uscourts.gov> wrote:
>
>While I have no intention of giving up my PARIS system, I made wish to supplement
>it with a modest Pro Tools setup. Many moons ago I owned a Mac, but have
>long been a PC guy. Does LE work as well on the PC as it does on the Mac?Well, I took a BNC T adapter, attached it to the WC cable coming out of my
Lucid GenX6 and split off 2 x short cables and ran them into the BNC inputs
of my RMEW HDSP 9652's. then I took another separate clock cable from a
header on the GenX6 directly to the clock input of the Multiface. Then I
replaced on of my $60.00 Zoalla WC cables with a $10.00 Canare from the
GenX6 to MEC #2/CardB. Submix 2 and 3 now play back fine.. The only problem
is that the digital I/O on MECs 2 and 3 aren't passing signal so I can't
patch my Quantec and Lexi across auxes on these submixes.
I'll get there, but I've definitely had better days.
;o(
"rick" <parnell68@hotmail.com> wrote in message
news:4u6oe193nmcot9jhgqeb0etgmickl697st@4ax.com...
> oh you poor poor fool you. there is no real slution...only synthetic
> ones...sorry. oh yeah, check your ps. this seems to be the first
> sign. or try backing off the ps load.
>
> On Sat, 30 Jul 2005 17:25:40 -0600, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> >It's gotta be the ribbon cables. that's the only thing it could be.
> >
> >Back to the drawing board.
> >
> >
> >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >news:42ebeac9@linux...
> >> Bad SCSI cable between MEC 2 and card B. It was getting intermittant. I
> >have
> >> replaced it with a new cable and so far I have done a number of
reboots,
> >> opening/closing of projects,etc and so far, so good. I guess it's
always
> >> possible that this may be only one of *more than one* problems, but
with
> >all
> >> of the testing I've been doing and the consistent symptoms, this makes
way
> >> more sense than anything else.
> >>
> >>
> >> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
> >> news:42eb9137$1@linux...
> >> >
> >> > sounds like a card to me. I had that digi pulse thing happen and it
was
> >a
> >> > card, but the card worked fine by itself...only got the hash when
hooked
> >> > in a multi card system
> >> > rod
> >> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >> > >Looks like it's a bad card or bad ribbon cable(s). Just booted the
> >system
> >> > >and now the same thing is happening. It's happening on Submix B now
> >> (which
> >> > >was switched to card C last night). I've done enough testing to be
> >pretty
> >> > >sure it's not one of the HD SCSI cables or one of the MECs.
> >> > >
> >> > >When loading my default .ppj, I'm getting a digital pulse in the
global
> >> > >fader. The only thing that stops this is switching the submix that
is
> >> > >assigned to card C to virtual and then back to card. This stops the
> >> noise,
> >> > >but after doing this, no audio will play through the submix that
card C
> >> > is
> >> > >assigned to.
> >> > >
> >> > >I guess I've got more testing to do. First I'm going to pull card B,
> >> replace
> >> > >it with card C and see if I have any problems with playback on
either
> >MEC
> >> > B
> >> > >or C.
> >> > >
> >> > >If it won't play on either MEC, then it's likely the card. If it
plays
> >on
> >> > >one MEC but not the other, then it's likely the MEC.
> >> > >
> >> > >If it plays on both MECs, I'm going to start switching ribbon cables
> >> between
> >> > >the cards and see if one of them is the culprit.
> >> > >
> >> > >If I still have no problems, I'll be stumped 'cause cards A & B work
> >> > >fine.......or so it seems right now.
> >> > >
> >> > >Maybe I'll get finished with this sometime today.
> >> > >
> >> > >;o(
> >> > >
> >> > >
> >> > >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> >> > >news:42eb101e@linux...
> >> > >> The NICE thing about Paris is that it totally doesn't matter
> >> > >> which MEC is on what card... it is completely assignable in
> >> > >> the global master window... you can literally shuffle your
> >> > >> MEC's around then reassign them without losing anything in
> >> > >> the way of routing.
> >> > >>
> >> > >> David.
> >> > >>
> >> > >> DJ wrote:
> >> > >> > I've been working for about 6 months with 3 EDS cards which are
> >> hooked
> >> > >up to
> >> > >> > three MECs. The last MEC doesn't have any analog I/O cards, just
> >ADAT
> >> > >cards.
> >> > >> > I usually track to the first two MECs.
> >> > >> >
> >> > >> > Well, for some reason I can't fathom, suddenly MEC 3 stopped
> >> > >> > sycing.........lots of digital hash. switching WC on and off
would
> >> sync
> >> > >it
> >> > >> > back up. Then that stopped working. The switching the EDS card
on
> >> Submix
> >> > >3
> >> > >> > in the global window to virtual and then back to card worked.
Now
> >> that
> >> > >has
> >> > >> > stopped working. I thought it might be a bad cable so I switched
> >the
> >> > >SCSI
> >> > >> > cable from MEC 3 to Card B and attached the cable from MEC 2 to
> >card
> >> > C
> >> > >> > figuring that if it was either a card or cable, I could trace
the
> >> > >problem.,
> >> > >> > Well, I found that that hooking this MEC #3 (which was
previously
> >> > >attached
> >> > >> > Card C) to Card B and attaching Card C to MEC #2 (which was
> >> previously
> >> > >> > attached MEC #3) totlly solves the problem.
> >> > >> > Rock solid, no sync problems and absolutely no discernable
reason
> >for
> >> > >this
> >> > >> > behaviour. However, I did add an RME multiface to my Cubase SX
> >system
> >> > >> > yesterday and all of these devices are sharing a common clock so
> >I'm
> >> > >> > wondering if, by some cursed digital happenstance, this might
have
> >> > >caused
> >> > >> > the problem. I sort of doubt it though because the system was
> >> starting
> >> > >to
> >> > >> > act erratic before I hooked up the Multiface to the SX DAW.
> >> > >> >
> >> > >> > I've got project in the works here that has 12 songs with lots
of
> &g
|
|
|
|
| Re: Bomb attacks in London England [message #55604 is a reply to message #55603] |
Tue, 12 July 2005 17:18 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
t;> tracks
> >> > >on
> >> > >> > each. There's still lots more tracking/dubs to do on this
project
> >and
> >> > >I've
> >> > >> > got a producer coming in tomorrow to discuss a label project.
I'm
> >> going
> >> > >be
> >> > >> > jacking around with reconfiguring my patchbay presets tonight to
> >> reflect
> >> > >the
> >> > >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song
on
> >the
> >> > >> > project I'm working on is playing back from the wrong
> >&^$#^&^%&^&^%$
> >> > >submix.
> >> > >> >
> >> > >> > This stuff pisses me off to no end. This same thing started
> >happening
> >> > >when I
> >> > >> > was using 2 x MECs and a 442.
> >> > >> >
> >> > >> > I thought I had a bad EDS card yesterday and I sent TheSoniq the
> >> money
> >> > >for
> >> > >> > another one. Then the system started working normally again so I
> >> called
> >> > >him
> >> > >> > and told him to hold off. I don't know if this is a card issue
or
> >> not,
> >> > >but
> >> > >> > I'm not gonna' get caught with my pants down so I'm going to
tell
> >him
> >> > to
> >> > >> > send it on.
> >> > >> >
> >> > >> > Grrrrr...........
> >> > >> >
> >> > >> > ;o(
> >> > >> >
> >> > >> >
> >> > >
> >> > >
> >> >
> >>
> >>
> >
>what the heck buddy...
Well.........shit!!!!!!! Guess what??? Removing the line UseHouseSync=1 from
the .cfg file, rebooting opening up a project, then closing, going back into
the .cfg file and adding the line again seems to have fixed things. I didn't
notice any misspelling of the text, but who knows? Maybe I had a pair of
character in this command line that were inverted
I think it would take me about an hour just to write down everything I've
tried today.
This is the first time I've fixed a DAW by massaging a .txt file.
I wonder if it will *stay* fixed?
;o)
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:42ec2687@linux...
> Well, I took a BNC T adapter, attached it to the WC cable coming out of my
> Lucid GenX6 and split off 2 x short cables and ran them into the BNC
inputs
> of my RMEW HDSP 9652's. then I took another separate clock cable from a
> header on the GenX6 directly to the clock input of the Multiface. Then I
> replaced on of my $60.00 Zoalla WC cables with a $10.00 Canare from the
> GenX6 to MEC #2/CardB. Submix 2 and 3 now play back fine.. The only
problem
> is that the digital I/O on MECs 2 and 3 aren't passing signal so I can't
> patch my Quantec and Lexi across auxes on these submixes.
>
> I'll get there, but I've definitely had better days.
>
> ;o(
>
> "rick" <parnell68@hotmail.com> wrote in message
> news:4u6oe193nmcot9jhgqeb0etgmickl697st@4ax.com...
> > oh you poor poor fool you. there is no real slution...only synthetic
> > ones...sorry. oh yeah, check your ps. this seems to be the first
> > sign. or try backing off the ps load.
> >
> > On Sat, 30 Jul 2005 17:25:40 -0600, "DJ"
> > <animix_spam-this-ahole_@animas.net> wrote:
> >
> > >It's gotta be the ribbon cables. that's the only thing it could be.
> > >
> > >Back to the drawing board.
> > >
> > >
> > >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> > >news:42ebeac9@linux...
> > >> Bad SCSI cable between MEC 2 and card B. It was getting intermittant.
I
> > >have
> > >> replaced it with a new cable and so far I have done a number of
> reboots,
> > >> opening/closing of projects,etc and so far, so good. I guess it's
> always
> > >> possible that this may be only one of *more than one* problems, but
> with
> > >all
> > >> of the testing I've been doing and the consistent symptoms, this
makes
> way
> > >> more sense than anything else.
> > >>
> > >>
> > >> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
> > >> news:42eb9137$1@linux...
> > >> >
> > >> > sounds like a card to me. I had that digi pulse thing happen and it
> was
> > >a
> > >> > card, but the card worked fine by itself...only got the hash when
> hooked
> > >> > in a multi card system
> > >> > rod
> > >> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> > >> > >Looks like it's a bad card or bad ribbon cable(s). Just booted the
> > >system
> > >> > >and now the same thing is happening. It's happening on Submix B
now
> > >> (which
> > >> > >was switched to card C last night). I've done enough testing to be
> > >pretty
> > >> > >sure it's not one of the HD SCSI cables or one of the MECs.
> > >> > >
> > >> > >When loading my default .ppj, I'm getting a digital pulse in the
> global
> > >> > >fader. The only thing that stops this is switching the submix that
> is
> > >> > >assigned to card C to virtual and then back to card. This stops
the
> > >> noise,
> > >> > >but after doing this, no audio will play through the submix that
> card C
> > >> > is
> > >> > >assigned to.
> > >> > >
> > >> > >I guess I've got more testing to do. First I'm going to pull card
B,
> > >> replace
> > >> > >it with card C and see if I have any problems with playback on
> either
> > >MEC
> > >> > B
> > >> > >or C.
> > >> > >
> > >> > >If it won't play on either MEC, then it's likely the card. If it
> plays
> > >on
> > >> > >one MEC but not the other, then it's likely the MEC.
> > >> > >
> > >> > >If it plays on both MECs, I'm going to start switching ribbon
cables
> > >> between
> > >> > >the cards and see if one of them is the culprit.
> > >> > >
> > >> > >If I still have no problems, I'll be stumped 'cause cards A & B
work
> > >> > >fine.......or so it seems right now.
> > >> > >
> > >> > >Maybe I'll get finished with this sometime today.
> > >> > >
> > >> > >;o(
> > >> > >
> > >> > >
> > >> > >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> > >> > >news:42eb101e@linux...
> > >> > >> The NICE thing about Paris is that it totally doesn't matter
> > >> > >> which MEC is on what card... it is completely assignable in
> > >> > >> the global master window... you can literally shuffle your
> > >> > >> MEC's around then reassign them without losing anything in
> > >> > >> the way of routing.
> > >> > >>
> > >> > >> David.
> > >> > >>
> > >> > >> DJ wrote:
> > >> > >> > I've been working for about 6 months with 3 EDS cards which
are
> > >> hooked
> > >> > >up to
> > >> > >> > three MECs. The last MEC doesn't have any analog I/O cards,
just
> > >ADAT
> > >> > >cards.
> > >> > >> > I usually track to the first two MECs.
> > >> > >> >
> > >> > >> > Well, for some reason I can't fathom, suddenly MEC 3 stopped
> > >> > >> > sycing.........lots of digital hash. switching WC on and off
> would
> > >> sync
> > >> > >it
> > >> > >> > back up. Then that stopped working. The switching the EDS card
> on
> > >> Submix
> > >> > >3
> > >> > >> > in the global window to virtual and then back to card worked.
> Now
> > >> that
> > >> > >has
> > >> > >> > stopped working. I thought it might be a bad cable so I
switched
> > >the
> > >> > >SCSI
> > >> > >> > cable from MEC 3 to Card B and attached the cable from MEC 2
to
> > >card
> > >> > C
> > >> > >> > figuring that if it was either a card or cable, I could trace
> the
> > >> > >problem.,
> > >> > >> > Well, I found that that hooking this MEC #3 (which was
> previously
> > >> > >attached
> > >> > >> > Card C) to Card B and attaching Card C to MEC #2 (which was
> > >> previously
> > >> > >> > attached MEC #3) totlly solves the problem.
> > >> > >> > Rock solid, no sync problems and absolutely no discernable
> reason
> > >for
> > >> > >this
> > >> > >> > behaviour. However, I did add an RME multiface to my Cubase SX
> > >system
> > >> > >> > yesterday and all of these devices are sharing a common clock
so
> > >I'm
> > >> > >> > wondering if, by some cursed digital happenstance, this might
> have
> > >> > >caused
> > >> > >> > the problem. I sort of doubt it though because the system was
> > >> starting
> > >> > >to
> > >> > >> > act erratic before I hooked up the Multiface to the SX DAW.
> > >> > >> >
> > >> > >> > I've got project in the works here that has 12 songs with lots
> of
> > >> tracks
> > >> > >on
> > >> > >> > each. There's still lots more tracking/dubs to do on this
> project
> > >and
> > >> > >I've
> > >> > >> > got a producer coming in tomorrow to discuss a label project.
> I'm
> > >> going
> > >> > >be
> > >> > >> > jacking around with reconfiguring my patchbay presets tonight
to
> > >> reflect
> > >> > >the
> > >> > >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song
> on
> > >the
> > >> > >> > project I'm working on is playing back from the wrong
> > >&^$#^&^%&^&^%$
> > >> > >submix.
> > >> > >> >
> > >> > >> > This stuff pisses me off to no end. This same thing started
> > >happening
> > >> > >when I
> > >> > >> > was using 2 x MECs and a 442.
> > >> > >> >
> > >> > >> > I thought I had a bad EDS card yesterday and I sent TheSoniq
the
> > >> money
> > >> > >for
> > >> > >> > another one. Then the system started working normally again so
I
> > >> called
> > >> > >him
> > >> > >> > and told him to hold off. I don't know if this is a card issue
> or
> > >> not,
> > >> > >but
> > >> > >> > I'm not gonna' get caught with my pants down so I'm going to
> tell
> > >him
> > >> > to
> > >> > >> > send it on.
> > >> > >> >
> > >> > >> > Grrrrr...........
> > >> > >> >
> > >> > >> > ;o(
> > >> > >> >
> > >> > >> >
> > >> > >
> > >> > >
> > >> >
> > >>
> > >>
> > >
> >
>
>I saw a review by Fletcher on the Aurora. He was A/B'iing it against a Lavry
Blue. He said that it wasn't quite in the same ballpark but close. Then he
hooked it up to an Apogee Big Ben and reported that it was practically
indistinguishable from the Lavry.
.........'course, buying an Aurora and a Big Ben would cost about the same as
a Lavry.
;o)
"rick" <parnell68@hotmail.com> wrote in message
news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
> lynx aurora. i've got lynx two and the rme fw 800; the lynx (two) so
> far is the closest to paris. i can only imagine what the aurora
> sounds like.
>
> On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
> wrote:
>
> >hi all
> >i'm looking for an 8 channel converters to add to my paris.
> >i need something quite good, that doesn't decrease the overall sound
quality
> >of the rig.
> >i saw frontier design tango 24
> >seems quite cheap on s/h
> >does any1 know this one or could recommend me something else?
> >i could also trade the adat card for an 8i card.
> >thx anyone who answers
> >cyrille
> >
>So I picked up a Kawai MP-9000 from Sydney over this weekend, along with
a reasonable 50 watt keyboard amp too which I was planning to sell, but am
now considering keeping... anyhow...
It has a little fault in the final preamp stage, where it does that thing
that amp circuits do at times, where you get this crackly hiss happenning,
or just crackling occassionally, and the hiss gets better and worse, and
you get a bit of distortion on the channel at times... I'm sure some of
you have heard this fault on gear before. I'm pretty sure it's just a transistor.
Anyhow, I pulled it apart to see what the chances are of fixing it myself,
and indeed fixing the bent key on my OTHER MP-9000...
So I had a look around the internals, and I got to thinking...
The thing is nicely laid out and divided up. Nice neat power supply on the
left. A couple of PCB's mounted to the displays, I/O and controls. The basic
digital end of things is taken care of by a single PCB in the middle, which
is straddled on one side by a board which seems to help interface the main
board with the controls and displays, and a board on the other side which
takes care of the audio output, including the preamps and I think the EQ
circuits which I think must be analog but controlled digitally, which is
sensible enough.
The basic MP-9000 itself though is a single board in the middle. The thing
that makes the sounds and controls
The MP-9000 has only 16 basic sounds. It's newer brother has 64 sounds. The
controls are identical. The display is identical. The preamp and EQ identical.
Far as I can tell the only difference between the two is that one single
board in the middle which deals with the digital core of things, and the
action of the keyboard itself which has some changes also.
But I'm thinking I could drop the main board of a 9500 striaight in this
baby and make myself a 9000/9500 hybrid... a 9250 if you will.
What's more there is a new MP-4 just released, once again with the same controls,
but more sound upgrades, better polyphony, but without the wooden keys. And
there are rumours another MP model is on the way to replace the 9000 series
which may have possibly even more sounds, or better sounds, or who knows
what.
I'm thinking of buying service manuals for some of these boards and seeing
if I think it's possible to swap out some of these parts between models.
If I can build myself a keyboard with all the benefits of wooden keys, plus
all the sounds of one of Kawai's newer keyboards...
....or maybe I should just spend the money on a seperate MIDI sound module
and be done with it... ;o) ...nah, ANYONE can do THAT. ;oP ;o)
Cheers,
Kim.3000$ ? for an aurora 16
oups
id rather find 2 8in + 1 8 out cards for such prices.... i aint a pro who
can put so much on a converter.
it's just to use 2 dp4's as sends you know...in a home studio.
thx anyway for the advices, i now know one more stuff i can't buy ;-))
"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message de news:
42ec409b@linux...
> I saw a review by Fletcher on the Aurora. He was A/B'iing it against a
Lavry
> Blue. He said that it wasn't quite in the same ballpark but close. Then he
> hooked it up to an Apogee Big Ben and reported that it was practically
> indistinguishable from the Lavry.
>
> ........'course, buying an Aurora and a Big Ben would cost about the same
as
> a Lavry.
>
> ;o)
>
> "rick" <parnell68@hotmail.com> wrote in message
> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
> > lynx aurora. i've got lynx two and the rme fw 800; the lynx (two) so
> > far is the closest to paris. i can only imagine what the aurora
> > sounds like.
> >
> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
> > wrote:
> >
> > >hi all
> > >i'm looking for an 8 channel converters to add to my paris.
> > >i need something quite good, that doesn't decrease the overall sound
> quality
> > >of the rig.
> > >i saw frontier design tango 24
> > >seems quite cheap on s/h
> > >does any1 know this one or could recommend me something else?
> > >i could also trade the adat card for an 8i card.
> > >thx anyone who answers
> > >cyrille
> > >
> >
>
>i got the hehe part...so esplain the rest to me lucy.
On 31 Jul 2005 10:36:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>rick <parnell68@hotmail.com> wrote:
>>down there big fellah...don't forget the brother whose fault it is
>>always, is there to keep us safe from harm.
>
>Hehe, that is true... assuming I worked out it was offline, which I wouldn't
>have...
>
>Cheers,
>Kim.the engineers of lynx
avid A Hoatson
Admin Group
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Avatar
Forum Administrator
Joined: October/01/2003
Location: United States
Posts: 407
Posted: May/28/2005 at 9:31am | IP Logged Quote David A Hoatson
Frankly, it won't do anything. It simply isn't possible for an
|
|
|
|
| Re: Bomb attacks in London England [message #55605 is a reply to message #55585] |
Tue, 12 July 2005 17:20 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
>
external clock to effect the audio of the Aurora one way or the other.
When our SynchroLock is ON, the Aurora is always running from its own
internal clock. If you connect an external clock source to the
Aurora, the SynchroLock will use this as its reference - but the
actual clock signal is still being generated inside the Aurora.
The only way an external clock could effect the audio quality is if
SynchroLock hadn't locked yet (the light was still flashing), or if
SynchroLock was switched off completely (only possible with the Aurora
Remote Mixer software & an AES16).
Edited by David A Hoatson on May/28/2005 at 9:32am
__________________
Thank you,
David A. Hoatson
Lynx Studio Technology, Inc.
Co-founder, Chief Software Architect
www.lynxstudio.com
On Sat, 30 Jul 2005 21:06:01 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I saw a review by Fletcher on the Aurora. He was A/B'iing it against a Lavry
>Blue. He said that it wasn't quite in the same ballpark but close. Then he
>hooked it up to an Apogee Big Ben and reported that it was practically
>indistinguishable from the Lavry.
>
>........'course, buying an Aurora and a Big Ben would cost about the same as
>a Lavry.
>
>;o)
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
>> lynx aurora. i've got lynx two and the rme fw 800; the lynx (two) so
>> far is the closest to paris. i can only imagine what the aurora
>> sounds like.
>>
>> On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
>> wrote:
>>
>> >hi all
>> >i'm looking for an 8 channel converters to add to my paris.
>> >i need something quite good, that doesn't decrease the overall sound
>quality
>> >of the rig.
>> >i saw frontier design tango 24
>> >seems quite cheap on s/h
>> >does any1 know this one or could recommend me something else?
>> >i could also trade the adat card for an 8i card.
>> >thx anyone who answers
>> >cyrille
>> >
>>
>windows is well known for eventually corrupting pretty much anything.
glad you've got it sussed out.
On Sat, 30 Jul 2005 19:36:18 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>Well.........shit!!!!!!! Guess what??? Removing the line UseHouseSync=1 from
>the .cfg file, rebooting opening up a project, then closing, going back into
>the .cfg file and adding the line again seems to have fixed things. I didn't
>notice any misspelling of the text, but who knows? Maybe I had a pair of
>character in this command line that were inverted
>
>I think it would take me about an hour just to write down everything I've
>tried today.
>
>This is the first time I've fixed a DAW by massaging a .txt file.
>
>I wonder if it will *stay* fixed?
>
>;o)
>
>
>
>"DJ" <animix_spam-this-ahole_@ani
|
|
|
|
| Re: Bomb attacks in London England [message #55606 is a reply to message #55604] |
Tue, 12 July 2005 17:39 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
mas.net> wrote in message
>news:42ec2687@linux...
>> Well, I took a BNC T adapter, attached it to the WC cable coming out of my
>> Lucid GenX6 and split off 2 x short cables and ran them into the BNC
>inputs
>> of my RMEW HDSP 9652's. then I took another separate clock cable from a
>> header on the GenX6 directly to the clock input of the Multiface. Then I
>> replaced on of my $60.00 Zoalla WC cables with a $10.00 Canare from the
>> GenX6 to MEC #2/CardB. Submix 2 and 3 now play back fine.. The only
>problem
>> is that the digital I/O on MECs 2 and 3 aren't passing signal so I can't
>> patch my Quantec and Lexi across auxes on these submixes.
>>
>> I'll get there, but I've definitely had better days.
>>
>> ;o(
>>
>> "rick" <parnell68@hotmail.com> wrote in message
>> news:4u6oe193nmcot9jhgqeb0etgmickl697st@4ax.com...
>> > oh you poor poor fool you. there is no real slution...only synthetic
>> > ones...sorry. oh yeah, check your ps. this seems to be the first
>> > sign. or try backing off the ps load.
>> >
>> > On Sat, 30 Jul 2005 17:25:40 -0600, "DJ"
>> > <animix_spam-this-ahole_@animas.net> wrote:
>> >
>> > >It's gotta be the ribbon cables. that's the only thing it could be.
>> > >
>> > >Back to the drawing board.
>> > >
>> > >
>> > >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> > >news:42ebeac9@linux...
>> > >> Bad SCSI cable between MEC 2 and card B. It was getting intermittant.
>I
>> > >have
>> > >> replaced it with a new cable and so far I have done a number of
>> reboots,
>> > >> opening/closing of projects,etc and so far, so good. I guess it's
>> always
>> > >> possible that this may be only one of *more than one* problems, but
>> with
>> > >all
>> > >> of the testing I've been doing and the consistent symptoms, this
>makes
>> way
>> > >> more sense than anything else.
>> > >>
>> > >>
>> > >> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>> > >> news:42eb9137$1@linux...
>> > >> >
>> > >> > sounds like a card to me. I had that digi pulse thing happen and it
>> was
>> > >a
>> > >> > card, but the card worked fine by itself...only got the hash when
>> hooked
>> > >> > in a multi card system
>> > >> > rod
>> > >> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> > >> > >Looks like it's a bad card or bad ribbon cable(s). Just booted the
>> > >system
>> > >> > >and now the same thing is happening. It's happening on Submix B
>now
>> > >> (which
>> > >> > >was switched to card C last night). I've done enough testing to be
>> > >pretty
>> > >> > >sure it's not one of the HD SCSI cables or one of the MECs.
>> > >> > >
>> > >> > >When loading my default .ppj, I'm getting a digital pulse in the
>> global
>> > >> > >fader. The only thing that stops this is switching the submix that
>> is
>> > >> > >assigned to card C to virtual and then back to card. This stops
>the
>> > >> noise,
>> > >> > >but after doing this, no audio will play through the submix that
>> card C
>> > >> > is
>> > >> > >assigned to.
>> > >> > >
>> > >> > >I guess I've got more testing to do. First I'm going to pull card
>B,
>> > >> replace
>> > >> > >it with card C and see if I have any problems with playback on
>> either
>> > >MEC
>> > >> > B
>> > >> > >or C.
>> > >> > >
>> > >> > >If it won't play on either MEC, then it's likely the card. If it
>> plays
>> > >on
>> > >> > >one MEC but not the other, then it's likely the MEC.
>> > >> > >
>> > >> > >If it plays on both MECs, I'm going to start switching ribbon
>cables
>> > >> between
>> > >> > >the cards and see if one of them is the culprit.
>> > >> > >
>> > >> > >If I still have no problems, I'll be stumped 'cause cards A & B
>work
>> > >> > >fine.......or so it seems right now.
>> > >> > >
>> > >> > >Maybe I'll get finished with this sometime today.
>> > >> > >
>> > >> > >;o(
>> > >> > >
>> > >> > >
>> > >> > >"Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
>> > >> > >news:42eb101e@linux...
>> > >> > >> The NICE thing about Paris is that it totally doesn't matter
>> > >> > >> which MEC is on what card... it is completely assignable in
>> > >> > >> the global master window... you can literally shuffle your
>> > >> > >> MEC's around then reassign them without losing anything in
>> > >> > >> the way of routing.
>> > >> > >>
>> > >> > >> David.
>> > >> > >>
>> > >> > >> DJ wrote:
>> > >> > >> > I've been working for about 6 months with 3 EDS cards which
>are
>> > >> hooked
>> > >> > >up to
>> > >> > >> > three MECs. The last MEC doesn't have any analog I/O cards,
>just
>> > >ADAT
>> > >> > >cards.
>> > >> > >> > I usually track to the first two MECs.
>> > >> > >> >
>> > >> > >> > Well, for some reason I can't fathom, suddenly MEC 3 stopped
>> > >> > >> > sycing.........lots of digital hash. switching WC on and off
>> would
>> > >> sync
>> > >> > >it
>> > >> > >> > back up. Then that stopped working. The switching the EDS card
>> on
>> > >> Submix
>> > >> > >3
>> > >> > >> > in the global window to virtual and then back to card worked.
>> Now
>> > >> that
>> > >> > >has
>> > >> > >> > stopped working. I thought it might be a bad cable so I
>switched
>> > >the
>> > >> > >SCSI
>> > >> > >> > cable from MEC 3 to Card B and attached the cable from MEC 2
>to
>> > >card
>> > >> > C
>> > >> > >> > figuring that if it was either a card or cable, I could trace
>> the
>> > >> > >problem.,
>> > >> > >> > Well, I found that that hooking this MEC #3 (which was
>> previously
>> > >> > >attached
>> > >> > >> > Card C) to Card B and attaching Card C to MEC #2 (which was
>> > >> previously
>> > >> > >> > attached MEC #3) totlly solves the problem.
>> > >> > >> > Rock solid, no sync problems and absolutely no discernable
>> reason
>> > >for
>> > >> > >this
>> > >> > >> > behaviour. However, I did add an RME multiface to my Cubase SX
>> > >system
>> > >> > >> > yesterday and all of these devices are sharing a common clock
>so
>> > >I'm
>> > >> > >> > wondering if, by some cursed digital happenstance, this might
>> have
>> > >> > >caused
>> > >> > >> > the problem. I sort of doubt it though because the system was
>> > >> starting
>> > >> > >to
>> > >> > >> > act erratic before I hooked up the Multiface to the SX DAW.
>> > >> > >> >
>> > >> > >> > I've got project in the works here that has 12 songs with lots
>> of
>> > >> tracks
>> > >> > >on
>> > >> > >> > each. There's still lots more tracking/dubs to do on this
>> project
>> > >and
>> > >> > >I've
>> > >> > >> > got a producer coming in tomorrow to discuss a label project.
>> I'm
>> > >> going
>> > >> > >be
>> > >> > >> > jacking around with reconfiguring my patchbay presets tonight
>to
>> > >> reflect
>> > >> > >the
>> > >> > >> > new MEC/Card assignments. Right now every %$#^&*%^#$%'ing song
>> on
>> > >the
>> > >> > >> > project I'm working on is playing back from the wrong
>> > >&^$#^&^%&^&^%$
>> > >> > >submix.
>> > >> > >> >
>> > >> > >> > This stuff pisses me off to no end. This same thing started
>> > >happening
>> > >> > >when I
>> > >> > >> > was using 2 x MECs and a 442.
>> > >> > >> >
>> > >> > >> > I thought I had a bad EDS card yesterday and I sent TheSoniq
>the
>> > >> money
>> > >> > >for
>> > >> > >> > another one. Then the system started working normally again so
>I
>> > >> called
>> > >> > >him
>> > >> > >> > and told him to hold off. I don't know if this is a card issue
>> or
>> > >> not,
>> > >> > >but
>> > >> > >> > I'm not gonna' get caught with my pants down so I'm going to
>> tell
>> > >him
>> > >> > to
>> > >> > >> > send it on.
>> > >> > >> >
>> > >> > >> > Grrrrr...........
>> > >> > >> >
>> > >> > >> > ;o(
>> > >> > >> >
>> > >> > >> >
>> > >> > >
>> > >> > >
>> > >> >
>> > >>
>> > >>
>> > >
>> >
>>
>>
>as soon as i sober up.
;o)
On Sat, 30 Jul 2005 21:20:59 -0400, "justcron"
<justcron@hydrorecords.compound> wrote:
>and....and....and....there's always that brother to take the fall when
necessary.
On 31 Jul 2005 14:13:44 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>So I picked up a Kawai MP-9000 from Sydney over this weekend, along with
>a reasonable 50 watt keyboard amp too which I was planning to sell, but am
>now considering keeping... anyhow...
>
>It has a little fault in the final preamp stage, where it does that thing
>that amp circuits do at times, where you get this crackly hiss happenning,
>or just crackling occassionally, and the hiss gets better and worse, and
>you get a bit of distortion on the channel at times... I'm sure some of
>you have heard this fault on gear before. I'm pretty sure it's just a transistor.
>Anyhow, I pulled it apart to see what the chances are of fixing it myself,
>and indeed fixing the bent key on my OTHER MP-9000...
>
>So I had a look around the internals, and I got to thinking...
>
>The thing is nicely laid out and divided up. Nice neat power supply on the
>left. A couple of PCB's mounted to the displays, I/O and controls. The basic
>digital end of things is taken care of by a single PCB in the middle, which
>is straddled on one side by a board which seems to help interface the main
>board with the controls and displays, and a board on the other side which
>takes care of the audio output, including the preamps and I think the EQ
>circuits which I think must be analog but controlled digitally, which is
>sensible enough.
>
>The basic MP-9000 itself though is a single board in the middle. The thing
>that makes the sounds and controls
>
>The MP-9000 has only 16 basic sounds. It's newer brother has 64 sounds. The
>controls are identical. The display is identical. The preamp and EQ identical.
>Far as I can tell the only difference between the two is that one single
>board in the middle which deals with the digital core of things, and the
>action of the keyboard itself which has some changes also.
>
>But I'm thinking I could drop the main board of a 9500 striaight in this
>baby and make myself a 9000/9500 hybrid... a 9250 if you will.
>
>What's more there is a new MP-4 just released, once again with the same controls,
>but more sound upgrades, better polyphony, but without the wooden keys. And
>there are rumours another MP model is on the way to replace the 9000 series
>which may have possibly even more sounds, or better sounds, or who knows
>what.
>
>I'm thinking of buying service manuals for some of these boards and seeing
>if I think it's possible to swap out some of these parts between models.
>If I can build myself a keyboard with all the benefits of wooden keys, plus
>all the sounds of one of Kawai's newer keyboards...
>
>...or maybe I should just spend the money on a seperate MIDI sound module
>and be done with it... ;o) ...nah, ANYONE can do THAT. ;oP ;o)
>
>Cheers,
>Kim."Kim" <hiddensounds@hotmail.com> wrote:
>But I'm thinking I could drop the main board of a 9500 striaight in this
>baby and make myself a 9000/9500 hybrid... a 9250 if you will.
What hath Mr. Simplicity wrought?
:D"Neil" <OIUOI@IU.com> wrote in message news:42ecda19$1@linux...
>
> "Kim" <hiddensounds@hotmail.com> wrote:
>>But I'm thinking I could drop the main board of a 9500 striaight in this
>>baby and make myself a 9000/9500 hybrid... a 9250 if you will.
>
> What hath Mr. Simplicity wrought?
>
> :D
No doubt some rare form of gear slut insanity...
DonThe correct way to covert a 9000 and a 9500 into a 9250 is to saw both in
half at middle C and nail both halves back together.
g
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>So I picked up a Kawai MP-9000 from Sydney over this weekend, along with
>a reasonable 50 watt keyboard amp too which I was planning to sell, but
am
>now considering keeping... anyhow...
>
>It has a little fault in the final preamp stage, where it does that thing
>that amp circuits do at times, where you get this crackly hiss happenning,
>or just crackling occassionally, and the hiss gets better and worse, and
>you get a bit of distortion on the channel at times... I'm sure some of
>you have heard this fault on gear before. I'm pretty sure it's just a transistor.
>Anyhow, I pulled it apart to see what the chances are of fixing it myself,
>and indeed fixing the bent key on my OTHER MP-9000...
>
>So I had a look around the internals, and I got to thinking...
>
>The thing is nicely laid out and divided up. Nice neat power supply on the
>left. A couple of PCB's mounted to the displays, I/O and controls. The basic
>digital end of things is taken care of by a single PCB in the middle, which
>is straddled on one side by a board which seems to help interface the main
>board with the controls and displays, and a board on the other side which
>takes care of the audio output, including the preamps and I think the EQ
>circuits which I think must be analog but controlled digitally, which is
>sensible enough.
>
>The basic MP-9000 itself though is a single board in the middle. The thing
>that makes the sounds and controls
>
>The MP-9000 has only 16 basic sounds. It's newer brother has 64 sounds.
The
>controls are identical. The display is identical. The preamp and EQ identical.
>Far as I can tell the only difference between the two is that one single
>board in the middle which deals with the digital core of things, and the
>action of the keyboard itself which has some changes also.
>
>But I'm thinking I could drop the main board of a 9500 striaight in this
>baby and make myself a 9000/9500 hybrid... a 9250 if you will.
>
>What's more there is a new MP-4 just released, once again with the same
controls,
>but more sound upgrades, better polyphony, but without the wooden keys.
And
>there are rumours another MP model is on the way to replace the 9000 series
>which may have possibly even more sounds, or better sounds, or who knows
>what.
>
>I'm thinking of buying service manuals for some of these boards and seeing
>if I think it's possible to swap out some of these parts between models.
>If I can build myself a keyboard with all the benefits of wooden keys, plus
>all the sounds of one of Kawai's newer keyboards...
>
>...or maybe I should just spend the money on a seperate MIDI sound module
>and be done with it... ;o) ...nah, ANYONE can do THAT. ;oP ;o)
>
>Cheers,
>Kim.rick <parnell68@hotmail.com> wrote:
>and....and....and....there's always that brother to take the fall when
>necessary.
I'm glad you mentioned that. I mean he was there when I came up with the
idea, so it was clearly his job to tell me if it wasn't going to work...
;oP"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>
>The correct way to covert a 9000 and a 9500 into a 9250 is to saw both in
>half at middle C and nail both halves back together.
>g
NOW we're talking! ;oP"Don Nafe" <dnafe@magma.ca> wrote:
>"Neil" <OIUOI@IU.com> wrote in message news:42ecda19$1@linux...
>> What hath Mr. Simplicity wrought?
>> :D
>No doubt some rare form of gear slut insanity...
>Don
Heheheheheheheww... ;oPI feel like I've found the son that I never had.
;o)
"Kim" <hiddensounds@hotmail.com> wrote in message news:42ece4fd$1@linux...
>
> "Don Nafe" <dnafe@magma.ca> wrote:
> >"Neil" <OIUOI@IU.com> wrote in message news:42ecda19$1@linux...
> >> What hath Mr. Simplicity wrought?
> >> :D
> >No doubt some rare form of gear slut insanity...
> >Don
>
> Heheheheheheheww... ;oP
>This is a multi-part message in MIME format.
---=_linux42ecfa21
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"Kim" <hiddensounds@hotmail.com> wrote:
>
>"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>
>>The correct way to covert a 9000 and a 9500 into a 9250 is to saw both
in
>>half at middle C and nail both halves back together.
>>g
>
>NOW we're talking! ;oP
A nail gun is the tool of choice, but try to avoid ---
g
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| Re: Bomb attacks in London England [message #55616 is a reply to message #55607] |
Wed, 13 July 2005 03:29 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
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ices that are sharing the same clock. Seems that every time I
bring something new into the family, Paris has to go to war and claim it's
*clocking turf*. This usually takes about a day of tweaking and trying
different configurations until I hit the sweet spot and this one got much
crazier than the others. I was getting some error messages that were really
wierd and at one point, it looked liike I might actually have had 3 bad EDS
cards.
Next week I'm adding a 4th UAD card to the Cubase rig, but I've mapped the
Magma chassis and I know which slots in it will share IRQ with my existing
UAD cards, so I'm hoping for less of a hassle since these cards don't need
to interface by clock.
What's happening now is nice (knock wood). I'm absolutely loving the way the
gear is all working together and the way it all sounds when mixing. There's
so much crap interfacing with so much other crap that it's still sort of
intimidating...........in some ways, sort of like an analog studio can tend
to get, but, like learning the way around a big mixer and it's routings,
it's really pretty simple (many instances of the same thing). As I get more
time on it, it gets more familiar and easier.
DJ
"rick" <parnell68@hotmail.com> wrote in message
news:cm8pe1pulpdnl6tmt8cm78h62uvj3k1qet@4ax.com...
> windows is well known for eventually corrupting pretty much anything.
> glad you've got it sussed out.
>
> On Sat, 30 Jul 2005 19:36:18 -0600, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> >Well.........shit!!!!!!! Guess what??? Removing the line UseHouseSync=1
from
> >the .cfg file, rebooting opening up a project, then closing, going back
into
> >the .cfg file and adding the line again seems to have fixed things. I
didn't
> >notice any misspelling of the text, but who knows? Maybe I had a pair of
> >character in this command line that were inverted
> >
> >I think it would take me about an hour just to write down everything I've
> >tried today.
> >
> >This is the first time I've fixed a DAW by massaging a .txt file.
> >
> >I wonder if it will *stay* fixed?
> >
> >;o)
> >
> >
> >
> >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >news:42ec2687@linux...
> >> Well, I took a BNC T adapter, attached it to the WC cable coming out of
my
> >> Lucid GenX6 and split off 2 x short cables and ran them into the BNC
> >inputs
> >> of my RMEW HDSP 9652's. then I took another separate clock cable from a
> >> header on the GenX6 directly to the clock input of the Multiface. Then
I
> >> replaced on of my $60.00 Zoalla WC cables with a $10.00 Canare from the
> >> GenX6 to MEC #2/CardB. Submix 2 and 3 now play back fine.. The only
> >problem
> >> is that the digital I/O on MECs 2 and 3 aren't passing signal so I
can't
> >> patch my Quantec and Lexi across auxes on these submixes.
> >>
> >> I'll get there, but I've definitely had better days.
> >>
> >> ;o(
> >>
> >> "rick" <parnell68@hotmail.com> wrote in message
> >> news:4u6oe193nmcot9jhgqeb0etgmickl697st@4ax.com...
> >> > oh you poor poor fool you. there is no real slution...only synthetic
> >> > ones...sorry. oh yeah, check your ps. this seems to be the first
> >> > sign. or try backing off the ps load.
> >> >
> >> > On Sat, 30 Jul 2005 17:25:40 -0600, "DJ"
> >> > <animix_spam-this-ahole_@animas.net> wrote:
> >> >
> >> > >It's gotta be the ribbon cables. that's the only thing it could be.
> >> > >
> >> > >Back to the drawing board.
> >> > >
> >> > >
> >> > >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >> > >news:42ebeac9@linux...
> >> > >> Bad SCSI cable between MEC 2 and card B. It was getting
intermittant.
> >I
> >> > >have
> >> > >> replaced it with a new cable and so far I have done a number of
> >> reboots,
> >> > >> opening/closing of projects,etc and so far, so good. I guess it's
> >> always
> >> > >> possible that this may be only one of *more than one* problems,
but
> >> with
> >> > >all
> >> > >> of the testing I've been doing and the consistent symptoms, this
> >makes
> >> way
> >> > >> more sense than anything else.
> >> > >>
> >> > >>
> >> > >> "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
> >> > >> news:42eb9137$1@linux...
> >> > >> >
> >> > >> > sounds like a card to me. I had that digi pulse thing happen and
it
> >> was
> >> > >a
> >> > >> > card, but the card worked fine by itself...only got the hash
when
> >> hooked
> >> > >> > in a multi card system
> >> > >> > rod
> >> > >> > "DJ" <Report message to a moderator
|
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| Re: Bomb attacks in London England [message #55625 is a reply to message #55616] |
Wed, 13 July 2005 08:29 |
Jamie K
Messages: 1115
Registered: July 2006
|
Senior Member |
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Cheers,
Kim.So sony got fined $10 Mil... we as consumers should get that refund,
otherwise whats the point.
I hope they go after Hollywood next... then they should go after Pepsi...
then how about Guitar Center.. and Walmart... Boeing... Halliburton... and
finally the US Government itself.... and I want a refund off all that
shit.Isn't change great? Good time to take your shit to the next level. I
know nothing about Oz other than it sounds like a real nice place.
Based on the info you posted, you got a good vibe off Northcote, which is
somethin.... but the beach... is there any advantages to the properties in
the areas, cost/view/public util/broadband, etc? good stuff... send us
some pix... actually im gonna check out those 2 places on google earth rite
now
"Kim" <hiddensounds@hotmail.com> wrote in message news:42ed6e0e$1@linux...
>
>
> For some time I've been ranting and raving about the possibility of moving
> to St Kilda, which, for those of you who don't live in or know Melbourne
> (all but about 2 of you ;o) is an inner city suburb by the beach, full of
> flats, pubs, bars, flats, cafes, bakeries, pubs, restaurants, bars, pubs,
> lots of public transport, pubs and bars, oh, and did I mention pubs...
>
> Last night however I went to another Melbourne suburb, being Northcote,
> and
> went to a bar, and a pub. ;o) Northcote has been on the possibility list
> for a while, but I think last night has nidged it up the list. Firstly, I
> really liked the two places we went last night. At the second bar, for
> example,
> a band was packing up, and I saw the guy packing up his double bass...
> and
> a band with a double bass sounds promising to me... and meanwhile, as
> the
> band was finished, some old 40's music was playing through the PA. The bar
> before that had on one of my favourite CD's of the last few years, being
> David Holmes "Come Get it. I Got it".
>
> Plus, Northcote is only about 15 minutes from work, whereas St Kilda is
> more
> like 45 minutes...
>
> ...but Northcote isn't near the beach! )o;
>
> ...mind you, in my price range, in St Kilda I'm likely to only get some
> tiny little 2 bedroom flat in a multistory block, whereas in Northcote I
> might actually get myself a small actual house, which would be good, and
> have spaces to park more than one car... and, of course, not being a
> multistory
> flat, I may be able to get away with actually doing some recording of loud
> instruments.
>
> I think I might have to change destinations...
>
> Cheers,
> Kim."justcron" <justcron@hydrorecords.compound> wrote:
> send us
>some pix... actually im gonna check out those 2 places on google earth rite
>now
Melbourne's pretty sketchy on Google earth. Some areas are really low res,
and I think St Kilda is one. not sure I've looked at Northcote.
Views are fairly limited in both areas. They're fairly flat places. Obviously
in St Kilda depending on location and height etc you can get a sea view,
but those kind of places are likely to be above my budget. My feeling is
that Northcote is likely to have a better range of affordable food. St Kilda
has heaps of places, but if you want to get yourself a feed for $5 or so
in St Kilda you might be in trouble. I know in Brunswick which is just up
the road from Northcote there's plenty of choice around the $5 area far as
a feed goes, and, without having tried it, Northcote is a similar area. Worst
case I could drive to Brunswick for a feed.
Public transport is similar in both areas... ie, lots of it, the only difference
of note being that St Kilda you can probably get more places more easily,
whereas Northcote you can get to the city 20 different ways, or head away
from the city, but there's no real facility to go sideways around the city
(you can't get to Brunswick for example without going into Melbourne CBD
and back). St Kilda is a bit better like that.
The other thing of note is that Northcote is being called "The New Brunswick"
or "The New Fitzroy" (Brunswick was "The New Fitzroy" 10 years ago). Basically
they're the places where all the bohemian/creative types hang out, and a
million cool bars, cafes and and such pop up (often many were already there),
then 10 years later all the cool person wanna be's move in and the atmosphere
changes, prices go up, and the cool people move somewhere else a little cheaper,
and the game continues. Hence I'm thinking Northcote would be a really good
place to have a studio. RRR radio, our most popular public subscriber based
radio station, just moved to East Brunswick (Northcote is one suburb further
east again... only about 1-2km away) from, you guessed it, Fitzroy! ;o)
...where their rent had become too expensive.
I'll try and find some pics later on.
Cheers,
Kim.nice...
I checked out Melbourne and suburbs... yeah there was a section of low res,
but some of the high res stuff is neat. You can literally read the
advertising on one of the stadiums. It also looks a lot more of a world
class city than I would have thought. Probably bigger than boston and
suburbs. You can only get basic limited info from g.e.... no real
indication of where might be nice to live, but I love the perspective
nonetheless. Looks like you're pretty much as south on the globe as you
can get.
"Kim" <hiddensounds@hotmail.com> wrote in message news:42ed808d$1@linux...
>
> "justcron" <justcron@hydrorecords.compound> wrote:
>> send us
>>some pix... actually im gonna check out those 2 places on google earth
>>rite
>
>>now
>
> Melbourne's pretty sketchy on Google earth. Some areas are really low res,
> and I think St Kilda is one. not sure I've looked at Northcote.
>
> Views are fairly limited in both areas. They're fairly flat places.
> Obviously
> in St Kilda depending on location and height etc you can get a sea view,
> but those kind of places are likely to be above my budget. My feeling is
> that Northcote is likely to have a better range of affordable food. St
> Kilda
> has heaps of places, but if you want to get yourself a feed for $5 or so
> in St Kilda you might be in trouble. I know in Brunswick which is just up
> the road from Northcote there's plenty of choice around the $5 area far as
> a feed goes, and, without having tried it, Northcote is a similar area.
> Worst
> case I could drive to Brunswick for a feed.
>
> Public transport is similar in both areas... ie, lots of it, the only
> difference
> of note being that St Kilda you can probably get more places more easily,
> whereas Northcote you can get to the city 20 different ways, or head away
> from the city, but there's no real facility to go sideways around the city
> (you can't get to Brunswick for example without going into Melbourne CBD
> and back). St Kilda is a bit better like that.
>
> The other thing of note is that Northcote is being called "The New
> Brunswick"
> or "The New Fitzroy" (Brunswick was "The New Fitzroy" 10 years ago).
> Basically
> they're the places where all the bohemian/creative types hang out, and a
> million cool bars, cafes and and such pop up (often many were already
> there),
> then 10 years later all the cool person wanna be's move in and the
> atmosphere
> changes, prices go up, and the cool people move somewhere else a little
> cheaper,
> and the game continues. Hence I'm thinking Northcote would be a really
> good
> place to have a studio. RRR radio, our most popular public subscriber
> based
> radio station, just moved to East Brunswick (Northcote is one suburb
> further
> east again... only about 1-2km away) from, you guessed it, Fitzroy! ;o)
> ...where their rent had become too expensive.
>
> I'll try and find some pics later on.
>
> Cheers,
> Kim.Hi Cyrille,
Just get a Behringer ADA8000 and use it with your ADAT card for 8 ins and
8 outs. The outputs are a little noisy, but no where near as noisy as a
DP/4. You'll be very happy with it.
All the best,
Mike
"cyrille" <portscan@wanadoo.fr
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| Re: Bomb attacks in London England [message #55646 is a reply to message #55644] |
Wed, 13 July 2005 10:24 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
|
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---=_linux42edd40f--"Martin Harrington" <lendan@bigpond.net.au> wrote:
>The Beach, and Melbourne, Pla eeeze.
>Not in the same sentence, I beg you, Kim ;-P
Hehe... hey, it's to look at, and walk along! I aint gonna swim in it! ;oP
Nobody wants to see my big gut in togs anyhow. ;oP
Oh, hehe, and for those not aware of the history... Melbourne and Sydney
have a little, shall we say, "sibling rivalry", where people from Sydney
mock us for having cold weather, and people from Melbourne mock them for,
oh whatever we can think of really... not having enough culture... giving
birth to John Laws... anything really. ;o)
Cheers,
Kim.honestly i believe i will at least test with this one
alesis stuff in it right?
sometimes this brand doesn't make what they use to.
noisy stuff hey hey, with 12 bit drum machines and old analog i HAVE TO like
noise.
ill give it a try, even if ill have to repaint it in black to fit in the
mec's/fx rack
is there anything just on the class above ?
"Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de news:
42ed8b25$1@linux...
>
> Hi Cyrille,
>
> Just get a Behringer ADA8000 and use it with your ADAT card for 8 ins and
> 8 outs. The outputs are a little noisy, but no where near as noisy as a
> DP/4. You'll be very happy with it.
>
> All the best,
> Mike
>
>
> "cyrille" <portscan@wanadoo.fr> wrote:
> >3000$ ? for an aurora 16
> >oups
> >id rather find 2 8in + 1 8 out cards for such prices.... i aint a pro who
> >can put so much on a converter.
> >it's just to use 2 dp4's as sends you know...in a home studio.
> >thx anyway for the advices, i now know one more stuff i can't buy ;-))
> >
> >
> >"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message de
news:
> >42ec409b@linux...
> >> I saw a review by Fletcher on the Aurora. He was A/B'iing it against a
> >Lavry
> >> Blue. He said that it wasn't quite in the same ballpark but close. Then
> he
> >> hooked it up to an Apogee Big Ben and reported that it was practically
> >> indistinguishable from the Lavry.
> >>
> >> ........'course, buying an Aurora and a Big Ben would cost about the
same
> >as
> >> a Lavry.
> >>
> >> ;o)
> >>
> >> "rick" <parnell68@hotmail.com> wrote in message
> >> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
> >> > lynx aurora. i've got lynx two and the rme fw 800; the lynx (two) so
> >> > far is the closest to paris. i can only imagine what the aurora
> >> > sounds like.
> >> >
> >> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
> >> > wrote:
> >> >
> >> > >hi all
> >> > >i'm looking for an 8 channel converters to add to my paris.
> >> > >i need something quite good, that doesn't decrease the overall sound
> >> quality
> >> > >of the rig.
> >> > >i saw frontier design tango 24
> >> > >seems quite cheap on s/h
> >> > >does any1 know this one or could recommend me something else?
> >> > >i could also trade the adat card for an 8i card.
> >> > >thx anyone who answers
> >> > >cyrille
> >> > >
> >> >
> >>
> >>
> >
> >
>in france
in rennes
there's a street, called "la rue de la soif"
might be good for you
"Kim" <hiddensounds@hotmail.com> a écrit dans le message de news:
42ed6e0e$1@linux...
>
>
> For some time I've been ranting and raving about the possibility of moving
> to St Kilda, which, for those of you who don't live in or know Melbourne
> (all but about 2 of you ;o) is an inner city suburb by the beach, full of
> flats, pubs, bars, flats, cafes, bakeries, pubs, restaurants, bars, pubs,
> lots of public transport, pubs and bars, oh, and did I mention pubs...
>
> Last night however I went to another Melbourne suburb, being Northcote,
and
> went to a bar, and a pub. ;o) Northcote has been on the possibility list
> for a while, but I think last night has nidged it up the list. Firstly, I
> really liked the two places we went last night. At the second bar, for
|
|
|
|
| Re: Bomb attacks in London England [message #55647 is a reply to message #55604] |
Wed, 13 July 2005 10:20 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
example,
> a band was packing up, and I saw the guy packing up his double bass...
and
> a band with a double bass sounds promising to me... and meanwhile, as
the
> band was finished, some old 40's music was playing through the PA. The bar
> before that had on one of my favourite CD's of the last few years, being
> David Holmes "Come Get it. I Got it".
>
> Plus, Northcote is only about 15 minutes from work, whereas St Kilda is
more
> like 45 minutes...
>
> ...but Northcote isn't near the beach! )o;
>
> ...mind you, in my price range, in St Kilda I'm likely to only get some
> tiny little 2 bedroom flat in a multistory block, whereas in Northcote I
> might actually get myself a small actual house, which would be good, and
> have spaces to park more than one car... and, of course, not being a
multistory
> flat, I may be able to get away with actually doing some recording of loud
> instruments.
>
> I think I might have to change destinations...
>
> Cheers,
> Kim."justcron" <justcron@hydrorecords.compound> wrote:
>So sony got fined $10 Mil... we as consumers should get that refund,
>otherwise whats the point.
>
>I hope they go after Hollywood next... then they should go after Pepsi...
>then how about Guitar Center.. and Walmart... Boeing... Halliburton... and
>finally the US Government itself.... and I want a refund off all that
>shit.
A refund of what? How does what Sony paid to radio stations
come out of your pocket? This wasn't a stock swindle like Enron.
If they hadn't paid it to radio stations directly for spins,
they probably would've spent it on other kinds of marketing, so
it's not like you paid more for any of those CD's you may have
bought as a result of their payoffs to radio stations. Which
begs the question... are you telling us you're so
impressinoable that the only reason you bought Good Charlotte's
CD (as an example) is that they paid off WAAF to play it? That
doesn't sound like you.
Anyway, this particular payola case is getting into some grey
areas, IMO... the more I think abut it, the more it seems like
product placement more than payola. I know a number of radio
stations had started accepting spins for cash, but the proviso
was that they had to be announced as such - as in: "And now
here's 'Bite me, Baby' by The Screaming Okapis, paid for by
Sony". Just like an infomercial on TV, for example (you know
those brief billboards that the front of paid programs that
disclose in both audio & video that it's not regular program
content: "The following is a paid advertisement from Guthy-
Renker enterprises - WSBK-TV does not sponsor or endorse the
views expressed within".
There's a big to-do right now about product placement deals on
TV shows - reality shows are some of the more active ones doing
deals in this field... anyone remember in last season's "The
Apprentice" where they teams had to come up with a marketing
campaign for a new kind of Burger King hamburger? Product
Placement. How about where they had to come up with a launch
campaign for the Pontiac Solstice? Product Placement. On some
of the shows it's pretty obvious to the viewer like "American
Idol", when they have Coca-Cola logos splashed all over the
place & Simon takes a drink of water from a Coca-Cola glass, but
on some of them it's harder to tell if it's product integration
or not.
Some people are bitching about product placement deals because
they say it's deceitful to show a product in a program without
disclosing AT THE TIME IT GETS SHOWN that it was paid for.
Here's the important question within all this hoopla, since
advertising is indeed a form of free speech... where does free
speech stop & payola begin?
NeilThis was a joke, based on the other payola thread...
But basically if Sony is going to be nailed for anti-competitive practices,
so should everyone else. And if they're fined, the money should go to
consumers, the actual victims of anti-competition.
"Neil" <OIUOIU@OIU.com> wrote in message news:42ee219a$1@linux...
>
> "justcron" <justcron@hydrorecords.compound> wrote:
>>So sony got fined $10 Mil... we as consumers should get that refund,
>
>>otherwise whats the point.
>>
>>I hope they go after Hollywood next... then they should go after Pepsi...
>
>>then how about Guitar Center.. and Walmart... Boeing... Halliburton... and
>
>>finally the US Government itself.... and I want a refund off all that
>
>>shit.
>
> A refund of what? How does what Sony paid to radio stations
> come out of your pocket? This wasn't a stock swindle like Enron.
> If they hadn't paid it to radio stations directly for spins,
> they probably would've spent it on other kinds of marketing, so
> it's not like you paid more for any of those CD's you may have
> bought as a result of their payoffs to radio stations. Which
> begs the question... are you telling us you're so
> impressinoable that the only reason you bought Good Charlotte's
> CD (as an example) is that they paid off WAAF to play it? That
> doesn't sound like you.
>
> Anyway, this particular payola case is getting into some grey
> areas, IMO... the more I think abut it, the more it seems like
> product placement more than payola. I know a number of radio
> stations had started accepting spins for cash, but the proviso
> was that they had to be announced as such - as in: "And now
> here's 'Bite me, Baby' by The Screaming Okapis, paid for by
> Sony". Just like an infomercial on TV, for example (you know
> those brief billboards that the front of paid programs that
> disclose in both audio & video that it's not regular program
> content: "The following is a paid advertisement from Guthy-
> Renker enterprises - WSBK-TV does not sponsor or endorse the
> views expressed within".
>
> There's a big to-do right now about product placement deals on
> TV shows - reality shows are some of the more active ones doing
> deals in this field... anyone remember in last season's "The
> Apprentice" where they teams had to come up with a marketing
> campaign for a new kind of Burger King hamburger? Product
> Placement. How about where they had to come up with a launch
> campaign for the Pontiac Solstice? Product Placement. On some
> of the shows it's pretty obvious to the viewer like "American
> Idol", when they have Coca-Cola logos splashed all over the
> place & Simon takes a drink of water from a Coca-Cola glass, but
> on some of them it's harder to tell if it's product integration
> or not.
>
> Some people are bitching about product placement deals because
> they say it's deceitful to show a product in a program without
> disclosing AT THE TIME IT GETS SHOWN that it was paid for.
>
> Here's the important question within all this hoopla, since
> advertising is indeed a form of free speech... where does free
> speech stop & payola begin?
>
> NeilI actually have had one out of 4 Behringer devices that I've used over the
years that worked correctly or was sonically worth using in the studio. It
is called an Ultramatch Pro and I'm using it as a D/A converter right now.
It says it does about 33822876 things. I don't know about that, but it
definitely works as a D/A converter as long as it isn't locked to my house
clock. Luckily it's locked to the AES output of my Mytek converter which is
feeding clock to the rest of my studio so in this case, it's a happy
accident. It doesn't do exactly what I want (I'd have to get two of them to
actually accomplish something done the *normal* way), but it's an acceptable
kludge for the moment. Maybe you'll get lucky. I will say this........their
tech support personnel are all very nice folks. I probably spoke to all of
them when my little fader control thingie went south and tried to take my
Cubase rig along with it.
The D/A converter sounds good but I've got the Ultramatch Pro about as far
from my listening position as I can get it, just in case it explodes, or
something.
the QC is absolutely awful from my experience, but if you get a *good*
Behringer unit, you should be happy with it. I'd buy it from a brick and
mortar store so when you get it home and it doesn't work, you can take it
back and exchange it over and over again until you find one that
works.........then add up the costs of your gasoline and time and you could
have bought a Lynx Aurora.
Just a thought.
;o)
"cyrille" <portscan@wanadoo.fr> wrote in message news:42ee0340$1@linux...
> honestly i believe i will at least test with this one
> alesis stuff in it right?
> sometimes this brand doesn't make what they use to.
> noisy stuff hey hey, with 12 bit drum machines and old analog i HAVE TO
like
> noise.
> ill give it a try, even if ill have to repaint it in black to fit in the
> mec's/fx rack
> is there anything just on the class above ?
>
> "Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de news:
> 42ed8b25$1@linux...
> >
> > Hi Cyrille,
> >
> > Just get a Behringer ADA8000 and use it with your ADAT card for 8 ins
and
> > 8 outs. The outputs are a little noisy, but no where near as noisy as a
> > DP/4. You'll be very happy with it.
> >
> > All the best,
> > Mike
> >
> >
> > "cyrille" <portscan@wanadoo.fr> wrote:
> > >3000$ ? for an aurora 16
> > >oups
> > >id rather find 2 8in + 1 8 out cards for such prices.... i aint a pro
who
> > >can put so much on a converter.
> > >it's just to use 2 dp4's as sends you know...in a home studio.
> > >thx anyway for the advices, i now know one more stuff i can't buy ;-))
> > >
> > >
> > >"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message de
> news:
> > >42ec409b@linux...
> > >> I saw a review by Fletcher on the Aurora. He was A/B'iing it against
a
> > >Lavry
> > >> Blue. He said that it wasn't quite in the same ballpark but close.
Then
> > he
> > >> hooked it up to an Apogee Big Ben and reported that it was
practically
> > >> indistinguishable from the Lavry.
> > >>
> > >> ........'course, buying an Aurora and a Big Ben would cost about the
> same
> > >as
> > >> a Lavry.
> > >>
> > >> ;o)
> > >>
> > >> "rick" <parnell68@hotmail.com> wrote in message
> > >> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
> > >> > lynx aurora. i've got lynx two and the rme fw 800; the lynx (two)
so
> > >> > far is the closest to paris. i can only imagine what the aurora
> > >> > sounds like.
> > >> >
> > >> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
> > >> > wrote:
> > >> >
> > >> > >hi all
> > >> > >i'm looking for an 8 channel converters to add to my paris.
> > >> > >i need something quite good, that doesn't decrease the overall
sound
> > >> quality
> > >> > >of the rig.
> > >> > >i saw frontier design tango 24
> > >> > >seems quite cheap on s/h
> > >> > >does any1 know this one or could recommend me something else?
> > >> > >i could also trade the adat card for an 8i card.
> > >> > >thx anyone who answers
> > >> > >cyrille
> > >> > >
> > >> >
> > >>
> > >>
> > >
> > >
> >
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>The D/A converter sounds good but I've got the Ultramatch Pro about as far
>from my listening position as I can get it, just in case it explodes, or
>something.
Don't worry, that small amount of U-235 they put in their power
transformers won't make TOO big of a hole in your roof :)Jon,
If you are using two computers, then a pair of the cheap Midex dual port
units should solve your problem. Just hook them up to your USB ports on each
machine, set the Midex as your midi output device in the Paris configuration
window, run midi cable from the midi output of the Midex unit that is
attached to your Paris rig to the midi input of the Midex unit that is
attached to your computer running Traktion and set the Midex to be the midi
input device in the Traktion program and you should be good to go. From what
I've heard, the Midex is about as good as it gets for midi sync.......Tank
wouldn't have done it any other way.
The little puppies are doing fine these days........
Cheers,
;o)
"Jon Jiles" <nospam@dude.com> wrote in message news:42edc418$1@linux...
>
> Thanks oh mighty snake eater!
>
> Ya know sometimes I wish I didn't love the way Paris sounds so much.. or
> that they would have gotten the friggin' midi part right.. or that it
supported
> VSTi's ... or that it just plain was being updated and supported. All I
want
> to do is write songs and record them well. This nerdy stuff gets
frustrating.
>
> Oh well, looks like now I'm back to getting lost in kluge-land
again....guess
> I'll look into the hardware you suggested. It's still cheaper than
replacing
> Paris and nothing else sounds as good (that's affordable anyway).
>
> How are the pooches doing by the way!
>
> Thanks,
> Jon
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >Jon,
> >
> >some thoughts below-
> >
> >"Jon Jiles" <nospam@dude.com> wrote in message news:42ed4bfd$1@linux...
> >>
> >> After playing around a bit, I decided to buy Mackie's Tracktion 2 and
> use
> >> it as a front end to Paris, sort of how some of you seem to be using
> >Cubase.It's
> >> really pretty inuitive as a songwriting tool if I can ever get what I'm
> >trying
> >> to do here to work. I'll be using Tracktion 2 mostly as a
sequencer/VSTi
> >> host for BFD, etc. to flesh out song ideas and then sum it through
Paris
> >> while doing any remaining true audio tracks in Paris.
> >
> >With you so far.
> >>
> >> I want to use Paris to control Tracktion. I'm using the Frontier Design
> >Dakota/Sierra
> >> configuration as the audio/midi card in the Tracktion machine and
having
> >> a hell of a time getting Sync to happen properly with my Paris rig. I
> >can't
> >> use the ADAT sync out of Paris v3 in Xp because of the known ADAT
issues
> >> in Paris Xpv3 (you can't even drive a regular ADAT with it)
> >
> >The ADAT modules send ADAT timecode in Paris XP, the same as they do in
> Win
> >9x. The Paris SX driver doesn't recognize ADAT machines, but the module
> >sends timecode just fine.
> >
> >I stopped having luck with the Dakota card once I upgraded from Cubase
v1.6
> >to v2.0 because I was no longer able to match the buffer settings in the
> >Cubase SX application to the buffer settings in the Dakota control panel.
> My
> >theory is that for some reason, the Dakota ADAT sync input doesn't allow
> the
> >system to lock up properly to incoming Paris ADAT sync if the sync
settings
> >can't be matched in the actual audio application and the Dakota control
> >panel. No clue why. I don't know about Traktion, but an RME card works
> >flawlessly with Paris ADAT sync in Cubase SX.
> >
> >and it doesn't
> >> appear that I have any other alternative but to stripe a SMPTE track in
> >Paris
> >> and use that to drive the Sierra/Dakota which converts the SMPTE to MTC
> >which
> >> Tracktion understands. My attempts at this approach are making me want
> to
> >> buy an Sm-58, a 4 track Syncassette and a cheesey drum machine!
> >
> >Brian T. posted a while back that he was using a pair of Steinberg MidEX
> >interfaces to lock Paris to Nuendo.This might be the ticket for you.
> >>
> >> The Tracktion 2 MTC timecode set-up only has settings of 24, 25 or 30
> fps
> >> and no df or nd settings.Still I can get things to sync visually
(frames
> >> match in Paris and Tracktion interfaces) but get no audio until I hit
> stop
> >> on the C16 and catch the tail of the last note(s) playing in Tracktion.
> If
> >> I unlock Tracktion from Paris altogether Tracktion audio plays back
fine
> >> through Paris.(Sounds great actually - BFD is a great tool)
> >
> >Yep, sounds like som sort of buffer issue you have there.
> >>
> >> Anyway, any ideas as to what I am doing wrong here or what the problem
> >might
> >> be or even another approach I might take? I know I'm not worthy, but I
> >almost
> >> feel deej-like here in terms of my self imposed convolution!
> >
> >I heard rumors that he accidentally tripped behind his equipment rack and
> >was devoured by snakes.
> >
> >>
> >> Any help is greatly appreciated!
> >>
> >> Cheers,
> >> Jon
> >
> >If the card don't fit, you must quit.......RME=problem free
> >
> >The snake eater.
> >;o)
> >
> >
>
Hi DJ,
You have definitly had terrible experiences with Behringer stuff, but mine
has been the opposite. I've had a Mic-502 dual mic pre for nearly 10 years
without any trouble at all. I've had an original composer since they were
first released - no trouble.
I recently added an ADA8000 and one of their single rack space line mixers
- both no problem.
I've done a whole bunch of live recording with the ADA8000 and the line mixer
strapped to an ADAT, and the quality has been fabulous.
There was a review of the ADA8000 in which someone strapped the outputs to
the inputs, crainked the gain to 100%, and then claimed that the whole unit
was too noisy, among other things. In normal use for me, it has been perfect.
The mic pres sound really good - not all bright and tinny like Macky or
Presonus pres, which I hate. The line inputs are so good that they actually
sound better with a guitar plugged directly into them than the DIs we had
on stage. The thing rocks.
It's kind of funny, but I've found as I get better at this recording gig,
I'm less obsessed with gear than I used to be. Not that gear lust can't
be fun or lead to a better end product, but I used to "chase a sound" thinking
that it was the gear that was 100% responsible. It clearly isn't. The choice
of mic placement, eq use, reverb type, and compression settings are the main
drivers of good sound. It's not that the gear doesn't matter, but I've found
that if you use your ears instead of reading price tags, you get way better
results for way less money.
Having said that, I'm moving towards using external, analog compressors because
I'm just not satisfied with the DX stuff. But, I won't be buying any $2000
compressors or a UAD 1. The composer sounds awesome, and you can get used
ones for $50. I've also heard that the old Alesis compressors can sound
really good if you replace the power supply with something that can actually
handle the unit.
And, the DP4's "early reflections" algo sounds wonderful, too. I have a
lexicon MPX1, but I hardly ever use it. The DP4 gets used on everything.
The C3000 I bought 8 years ago is one of my favourite mics. It goes for
$150 used. Yes, it's a little noisy, and it needs more EQ than the C1 to
work on acoustic guitar, but sounds 1000 times better than a C1 when you
know what to do with it.
We are so lucky to live in a time when great stuff is dirt cheap. Why fight
it?
All the best,
Mike
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I actually have had one out of 4 Behringer devices that I've used over the
>years that worked correctly or was sonically worth using in the studio.
It
>is called an Ultramatch Pro and I'm using it as a D/A converter right now.
>It says it does about 33822876 things. I don't know about that, but it
>definitely works as a D/A converter as long as it isn't locked to my house
>clock. Luckily it's locked to the AES output of my Mytek converter which
is
>feeding clock to the rest of my studio so in this case, it's a happy
>accident. It doesn't do exactly what I want (I'd have to get two of them
to
>actually accomplish something done the *normal* way), but it's an acceptable
>kludge for the moment. Maybe you'll get lucky. I will say this........their
>tech support personnel are all very nice folks. I probably spoke to all
of
>them when my little fader control thingie went south and tried to take my
>Cubase rig along with it.
>
>The D/A converter sounds good but I've got the Ultramatch Pro about as far
>from my listening position as I can get it, just in case it explodes, or
>something.
>
>the QC is absolutely awful from my experience, but if you get a *good*
>Behringer unit, you should be happy with it. I'd buy it from a brick and
>mortar store so when you get it home and it doesn't work, you can take it
>back and exchange it over and over again until you find one that
>works.........then add up the costs of your gasoline and time and you could
>have bought a Lynx Aurora.
>
>Just a thought.
>
>;o)
>
>
>
>"cyrille" <portscan@wanadoo.fr> wrote in message news:42ee0340$1@linux...
>> honestly i believe i will at least test with this one
>> alesis stuff in it right?
>> sometimes this brand doesn't make what they use to.
>> noisy stuff hey hey, with 12 bit drum machines and old analog i HAVE TO
>like
>> noise.
>> ill give it a try, even if ill have to repaint it in black to fit in the
>> mec's/fx rack
>> is there anything just on the class above ?
>>
>> "Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de news:
>> 42ed8b25$1@linux...
>> >
>> > Hi Cyrille,
>> >
>> > Just get a Behringer ADA8000 and use it with your ADAT card for 8 ins
>and
>> > 8 outs. The outputs are a little noisy, but no where near as noisy
as a
>> > DP/4. You'll be very happy with it.
>> >
>> > All the best,
>> > Mike
>> >
>> >
>> > "cyrille" <portscan@wanadoo.fr> wrote:
>> > >3000$ ? for an aurora 16
>> > >oups
>> > >id rather find 2 8in + 1 8 out cards for such prices.... i aint a pro
>who
>> > >can put so much on a converter.
>> > >it's just to use 2 dp4's as sends you know...in a home studio.
>> > >thx anyway for the advices, i now know one more stuff i can't buy ;-))
>> > >
>> > >
>> > >"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message de
>> news:
>> > >42ec409b@linux...
>> > >> I saw a review by Fletcher on the Aurora. He was A/B'iing it against
>a
>> > >Lavry
>> > >> Blue. He said that it wasn't quite in the same ballpark but close.
>Then
>> > he
>> > >> hooked it up to an Apogee Big Ben and reported that it was
>practically
>> > >> indistinguishable from the Lavry.
>> > >>
>> > >> ........'course, buying an Aurora and a Big Ben would cost about
the
>> same
>> > >as
>> > >> a Lavry.
>> > >>
>> > >> ;o)
>> > >>
>> > >> "rick" <parnell68@hotmail.com> wrote in message
>> > >> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
>> > >> > lynx aurora. i've got lynx two and the rme fw 800; the lynx (two)
>so
>> > >> > far is the closest to paris. i can only imagine what the aurora
>> > >> > sounds like.
>> > >> >
>> > >> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille" <portscan@wanadoo.fr>
>> > >> > wrote:
>> > >> >
>> > >> > >hi all
>> > >> > >i'm looking for an 8 channel converters to add to my paris.
>> > >> > >i need something quite good, that doesn't decrease the overall
>sound
>> > >> quality
>> > >> > >of the rig.
>> > >> > >i saw frontier design tango 24
>> > >> > >seems quite cheap on s/h
>> > >> > >does any1 know this one or could recommend me something else?
>> > >> > >i could also trade the adat card for an 8i card.
>> > >> > >thx anyone who answers
>> > >> > >cyrille
>> > >> > >
>> > >> >
>> > >>
>> > >>
>> > >
>> > >
>> >
>>
>>
>
>Hi Mike,
Hi Mike,
The Behringer units I have used are as follows:
..........whatever the 8 channel headphone unit was called back in
1998-caught on fire.
.............whatever the single RU line mixer was called in 1999-sounded so
bad I gave it away (and probably have a Karma debt to pay for this, but
hey........... the guy wanted it and I didn't charge him)
The 8 channel fader thingie last month-the USB port was defective, but prior
to it's demise, the combination of the Behringer driver and the defective
port somehow managed to managed create some kind of evil code hit which sent
the RME drivers in my Cubase DAW into shock, requiring the drivers be
removed, removal of the hardware, reloading of everything.
The Ultramatch Pro seems to be OK and hopefully I've finally found something
by Behringer that works.
I have no problem using inexpensive gear. I've got inexpensive Rode, Oktava
and Studio projects mics that sound great. I also have a pair of RNC's that
are very useful. Overall though, I've found that with few exceptions, I tend
to get what I pay for as far as $$$ vs quality goes.
I've got some Chinese SE Electronics mics here on loan right now that sound
absolutely great........but they're not really super inexpensive
(unfortunately). The Gemini is definitely in the big leagues. The verdict is
out on the Titan. I'm liking it on some stuff, not so much on other stuff,
but this is the case with lots of high-end mics as well. The build quality
on these is not cheap at all. They are much less expensive than some of the
mics that they are being compared to so the bang for the buck factor is
pretty substantial.
Not a gear snob......just been bitten a few times by Behringer. I have also
heard great things about the Behringer 8000 unit.
My problem here is that I live in a cave in the wilderness and have to
trudge 10 miles barefooted through 20' of snow and fight off packs of
ravenous wolves to get to my mailbox and I have to order everything online.
There is no brick and mortar store that carries this stuff within 250 miles
of me so when I wait all week for a piece of gear that I need and it
arrives, doesn't work properly and I have to spend lots of time
troubleshooting it to determine why I can't just hook it up and expect it to
work, suddenly I've wasted lots of my time and so the money I've saved,
wasn't saved at all and I could have spent a little more and gotten
something with good QC and some expectaion of reliability.
;o)
Deej
<Mike Audet mike....com> wrote in message news:42ee3836$1@linux...
>
> Hi DJ,
>
> You have definitly had terrible experiences with Behringer stuff, but mine
> has been the opposite. I've had a Mic-502 dual mic pre for nearly 10
years
> without any trouble at all. I've had an original composer since they were
> first released - no trouble.
>
> I recently added an ADA8000 and one of their single rack space line mixers
> - both no problem.
>
> I've done a whole bunch of live recording with the ADA8000 and the line
mixer
> strapped to an ADAT, and the quality has been fabulous.
>
> There was a review of the ADA8000 in which someone strapped the outputs to
> the inputs, crainked the gain to 100%, and then claimed that the whole
unit
> was too noisy, among other things. In normal use for me, it has been
perfect.
> The mic pres sound really good - not all bright and tinny like Macky or
> Presonus pres, which I hate. The line inputs are so good that they
actually
> sound better with a guitar plugged directly into them than the DIs we had
> on stage. The thing rocks.
>
> It's kind of funny, but I've found as I get better at this recording gig,
> I'm less obsessed with gear than I used to be. Not that gear lust can't
> be fun or lead to a better end product, but I used to "chase a sound"
thinking
> that it was the gear that was 100% responsible. It clearly isn't. The
choice
> of mic placement, eq use, reverb type, and compression settings are the
main
> drivers of good sound. It's not that the gear doesn't matter, but I've
found
> that if you use your ears instead of reading price tags, you get way
better
> results for way less money.
>
> Having said that, I'm moving towards using external, analog compressors
because
> I'm just not satisfied with the DX stuff. But, I won't be buying any
$2000
> compressors or a UAD 1. The composer sounds awesome, and you can get used
> ones for $50. I've also heard that the old Alesis compressors can sound
> really good if you replace the power supply with something that can
actually
> handle the unit.
>
> And, the DP4's "early reflections" algo sounds wonderful, too. I have a
> lexicon MPX1, but I hardly ever use it. The DP4 gets used on everything.
>
> The C3000 I bought 8 years ago is one of my favourite mics. It goes for
> $150 used. Yes, it's a little noisy, and it needs more EQ than the C1 to
> work on acoustic guitar, but sounds 1000 times better than a C1 when you
> know what to do with it.
>
> We are so lucky to live in a time when great stuff is dirt cheap. Why
fight
> it?
>
> All the best,
> Mike
>
>
> "DJ" <
|
|
|
|
| Re: Bomb attacks in London England [message #55649 is a reply to message #55646] |
Wed, 13 July 2005 11:23 |
gmmccurdy
Messages: 51
Registered: May 2007
|
Member |
|
|
s
> >feeding clock to the rest of my studio so in this case, it's a happy
> >accident. It doesn't do exactly what I want (I'd have to get two of them
> to
> >actually accomplish something done the *normal* way), but it's an
acceptable
> >kludge for the moment. Maybe you'll get lucky. I will say
this........their
> >tech support personnel are all very nice folks. I probably spoke to all
> of
> >them when my little fader control thingie went south and tried to take my
> >Cubase rig along with it.
> >
> >The D/A converter sounds good but I've got the Ultramatch Pro about as
far
> >from my listening position as I can get it, just in case it explodes, or
> >something.
> >
> >the QC is absolutely awful from my experience, but if you get a *good*
> >Behringer unit, you should be happy with it. I'd buy it from a brick and
> >mortar store so when you get it home and it doesn't work, you can take it
> >back and exchange it over and over again until you find one that
> >works.........then add up the costs of your gasoline and time and you
could
> >have bought a Lynx Aurora.
> >
> >Just a thought.
> >
> >;o)
> >
> >
> >
> >"cyrille" <portscan@wanadoo.fr> wrote in message news:42ee0340$1@linux...
> >> honestly i believe i will at least test with this one
> >> alesis stuff in it right?
> >> sometimes this brand doesn't make what they use to.
> >> noisy stuff hey hey, with 12 bit drum machines and old analog i HAVE TO
> >like
> >> noise.
> >> ill give it a try, even if ill have to repaint it in black to fit in
the
> >> mec's/fx rack
> >> is there anything just on the class above ?
> >>
> >> "Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de
news:
> >> 42ed8b25$1@linux...
> >> >
> >> > Hi Cyrille,
> >> >
> >> > Just get a Behringer ADA8000 and use it with your ADAT card for 8 ins
> >and
> >> > 8 outs. The outputs are a little noisy, but no where near as noisy
> as a
> >> > DP/4. You'll be very happy with it.
> >> >
> >> > All the best,
> >> > Mike
> >> >
> >> >
> >> > "cyrille" <portscan@wanadoo.fr> wrote:
> >> > >3000$ ? for an aurora 16
> >> > >oups
> >> > >id rather find 2 8in + 1 8 out cards for such prices.... i aint a
pro
> >who
> >> > >can put so much on a converter.
> >> > >it's just to use 2 dp4's as sends you know...in a home studio.
> >> > >thx anyway for the advices, i now know one more stuff i can't buy
;-))
> >> > >
> >> > >
> >> > >"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message de
> >> news:
> >> > >42ec409b@linux...
> >> > >> I saw a review by Fletcher on the Aurora. He was A/B'iing it
against
> >a
> >> > >Lavry
> >> > >> Blue. He said that it wasn't quite in the same ballpark but close.
> >Then
> >> > he
> >> > >> hooked it up to an Apogee Big Ben and reported that it was
> >practically
> >> > >> indistinguishable from the Lavry.
> >> > >>
> >> > >> ........'course, buying an Aurora and a Big Ben would cost about
> the
> >> same
> >> > >as
> >> > >> a Lavry.
> >> > >>
> >> > >> ;o)
> >> > >>
> >> > >> "rick" <parnell68@hotmail.com> wrote in message
> >> > >> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
> >> > >> > lynx aurora. i've got lynx two and the rme fw 800; the lynx
(two)
> >so
> >> > >> > far is the closest to paris. i can only imagine what the aurora
> >> > >> > sounds like.
> >> > >> >
> >> > >> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille"
<portscan@wanadoo.fr>
> >> > >> > wrote:
> >> > >> >
> >> > >> > >hi all
> >> > >> > >i'm looking for an 8 channel converters to add to my paris.
> >> > >> > >i need something quite good, that doesn't decrease the overall
> >sound
> >> > >> quality
> >> > >> > >of the rig.
> >> > >> > >i saw frontier design tango 24
> >> > >> > >seems quite cheap on s/h
> >> > >> > >does any1 know this one or could recommend me something else?
> >> > >> > >i could also trade the adat card for an 8i card.
> >> > >> > >thx anyone who answers
> >> > >> > >cyrille
> >> > >> > >
> >> > >> >
> >> > >>
> >> > >>
> >> > >
> >> > >
> >> >
> >>
> >>
> >
> >
>Hi DJ,
Man, that really sucks having that kind of luck with Behringer gear given
how much of a hassel it is for you to return it. And that fire is scarry.
I make a special effort to never leave the house with my rack left on since
reading your post about that. I would feel the same way as you do if I'd
had those expereiences.
To a point, I agree that you usually get what you pay for. I have a Neumann
103, and I would never even think of using anything else on vocals. It's
worth every penny. But, it comepletely sucks on accoustic guitar.
The DP/4 was freakin expensive in its day, too. So, while a DP/2 is now
a killer deal, it was high end stuff at the time.
I should qualify my enthusiasm for the C3000. I had to mod it slightly.
It comes with a built in pop filter, which is just a coating that is sprayed
on to the diaphragm. I peeled it off, and things opened up a lot.
I live 30 minutes outside of Toronto, so I've got a much easier time returning
things that don't work or selling things I don't like. I just sold my C1
and an MPX500 - good riddans to both. Anybody want to buy a PCM60?
I feel that the gear industry takes advantage of people who are learning
by hyping gear as necessary for a great sound when older, cheaper gear will
do just or almost as well. A while back, I decided not to spend any more
money on gear unless I was 100% sure that the probelm was my gear and not
how I was using it. My skills have improved immensly since then. I suspect
that you are actually past that and pushing beyond. We're probably just
at different stages.
Having said all that, I would love to check out the compressors in a UAD1.
I just don't want to pay for them. :)
All the best,
Mike
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Hi Mike,
>
>Hi Mike,
>
>The Behringer units I have used are as follows:
>
>.........whatever the 8 channel headphone unit was called back in
>1998-caught on fire.
>
>............whatever the single RU line mixer was called in 1999-sounded
so
>bad I gave it away (and probably have a Karma debt to pay for this, but
>hey........... the guy wanted it and I didn't charge him)
>
>The 8 channel fader thingie last month-the USB port was defective, but prior
>to it's demise, the combination of the Behringer driver and the defective
>port somehow managed to managed create some kind of evil code hit which
sent
>the RME drivers in my Cubase DAW into shock, requiring the drivers be
>removed, removal of the hardware, reloading of everything.
>
>The Ultramatch Pro seems to be OK and hopefully I've finally found something
>by Behringer that works.
>
>I have no problem using inexpensive gear. I've got inexpensive Rode, Oktava
>and Studio projects mics that sound great. I also have a pair of RNC's that
>are very useful. Overall though, I've found that with few exceptions, I
tend
>to get what I pay for as far as $$$ vs quality goes.
>
>I've got some Chinese SE Electronics mics here on loan right now that sound
>absolutely great........but they're not really super inexpensive
>(unfortunately). The Gemini is definitely in the big leagues. The verdict
is
>out on the Titan. I'm liking it on some stuff, not so much on other stuff,
>but this is the case with lots of high-end mics as well. The build quality
>on these is not cheap at all. They are much less expensive than some of
the
>mics that they are being compared to so the bang for the buck factor is
>pretty substantial.
>
>Not a gear snob......just been bitten a few times by Behringer. I have also
>heard great things about the Behringer 8000 unit.
>
>My problem here is that I live in a cave in the wilderness and have to
>trudge 10 miles barefooted through 20' of snow and fight off packs of
>ravenous wolves to get to my mailbox and I have to order everything online.
>There is no brick and mortar store that carries this stuff within 250 miles
>of me so when I wait all week for a piece of gear th
|
|
|
|
| Re: Bomb attacks in London England [message #55651 is a reply to message #55649] |
Wed, 13 July 2005 11:27 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
|
|
message news:42ee3836$1@linux...
>>
>> Hi DJ,
>>
>> You have definitly had terrible experiences with Behringer stuff, but
mine
>> has been the opposite. I've had a Mic-502 dual mic pre for nearly 10
>years
>> without any trouble at all. I've had an original composer since they
were
>> first released - no trouble.
>>
>> I recently added an ADA8000 and one of their single rack space line mixers
>> - both no problem.
>>
>> I've done a whole bunch of live recording with the ADA8000 and the line
>mixer
>> strapped to an ADAT, and the quality has been fabulous.
>>
>> There was a review of the ADA8000 in which someone strapped the outputs
to
>> the inputs, crainked the gain to 100%, and then claimed that the whole
>unit
>> was too noisy, among other things. In normal use for me, it has been
>perfect.
>> The mic pres sound really good - not all bright and tinny like Macky
or
>> Presonus pres, which I hate. The line inputs are so good that they
>actually
>> sound better with a guitar plugged directly into them than the DIs we
had
>> on stage. The thing rocks.
>>
>> It's kind of funny, but I've found as I get better at this recording gig,
>> I'm less obsessed with gear than I used to be. Not that gear lust can't
>> be fun or lead to a better end product, but I used to "chase a sound"
>thinking
>> that it was the gear that was 100% responsible. It clearly isn't. The
>choice
>> of mic placement, eq use, reverb type, and compression settings are the
>main
>> drivers of good sound. It's not that the gear doesn't matter, but I've
>found
>> that if you use your ears instead of reading price tags, you get way
>better
>> results for way less money.
>>
>> Having said that, I'm moving towards using external, analog compressors
>because
>> I'm just not satisfied with the DX stuff. But, I won't be buying any
>$2000
>> compressors or a UAD 1. The composer sounds awesome, and you can get
used
>> ones for $50. I've also heard that the old Alesis compressors can sound
>> really good if you replace the power supply with something that can
>actually
>> handle the unit.
>>
>> And, the DP4's "early reflections" algo sounds wonderful, too. I have
a
>> lexicon MPX1, but I hardly ever use it. The DP4 gets used on everything.
>>
>> The C3000 I bought 8 years ago is one of my favourite mics. It goes for
>> $150 used. Yes, it's a little noisy, and it needs more EQ than the C1
to
>> work on acoustic guitar, but sounds 1000 times better than a C1 when you
>> know what to do with it.
>>
>> We are so lucky to live in a time when great stuff is dirt cheap. Why
>fight
>> it?
>>
>> All the best,
>> Mike
>>
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >I actually have had one out of 4 Behringer devices that I've used over
>the
>> >years that worked correctly or was sonically worth using in the studio.
>> It
>> >is called an Ultramatch Pro and I'm using it as a D/A converter right
>now.
>> >It says it does about 33822876 things. I don't know about that, but it
>> >definitely works as a D/A converter as long as it isn't locked to my
>house
>> >clock. Luckily it's locked to the AES output of my Mytek converter which
>> is
>> >feeding clock to the rest of my studio so in this case, it's a happy
>> >accident. It doesn't do exactly what I want (I'd have to get two of them
>> to
>> >actually accomplish something done the *normal* way), but it's an
>acceptable
>> >kludge for the moment. Maybe you'll get lucky. I will say
>this........their
>> >tech support personnel are all very nice folks. I probably spoke to all
>> of
>> >them when my little fader control thingie went south and tried to take
my
>> >Cubase rig along with it.
>> >
>> >The D/A converter sounds good but I've got the Ultramatch Pro about as
>far
>> >from my listening position as I can get it, just in case it explodes,
or
>> >something.
>> >
>> >the QC is absolutely awful from my experience, but if you get a *good*
>> >Behringer unit, you should be happy with it. I'd buy it from a brick
and
>> >mortar store so when you get it home and it doesn't work, you can take
it
>> >back and exchange it over and over again until you find one that
>> >works.........then add up the costs of your gasoline and time and you
>could
>> >have bought a Lynx Aurora.
>> >
>> >Just a thought.
>> >
>> >;o)
>> >
>> >
>> >
>> >"cyrille" <portscan@wanadoo.fr> wrote in message news:42ee0340$1@linux...
>> >> honestly i believe i will at least test with this one
>> >> alesis stuff in it right?
>> >> sometimes this brand doesn't make what they use to.
>> >> noisy stuff hey hey, with 12 bit drum machines and old analog i HAVE
TO
>> >like
>> >> noise.
>> >> ill give it a try, even if ill have to repaint it in black to fit in
>the
>> >> mec's/fx rack
>> >> is there anything just on the class above ?
>> >>
>> >> "Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de
>news:
>> >> 42ed8b25$1@linux...
>> >> >
>> >> > Hi Cyrille,
>> >> >
>> >> > Just get a Behringer ADA8000 and use it with your ADAT card for 8
ins
>> >and
>> >> > 8 outs. The outputs are a little noisy, but no where near as noisy
>> as a
>> >> > DP/4. You'll be very happy with it.
>> >> >
>> >> > All the best,
>> >> > Mike
>> >> >
>> >> >
>> >> > "cyrille" <portscan@wanadoo.fr> wrote:
>> >> > >3000$ ? for an aurora 16
>> >> > >oups
>> >> > >id rather find 2 8in + 1 8 out cards for such prices.... i aint
a
>pro
>> >who
>> >> > >can put so much on a converter.
>> >> > >it's just to use 2 dp4's as sends you know...in a home studio.
>> >> > >thx anyway for the advices, i now know one more stuff i can't buy
>;-))
>> >> > >
>> >> > >
>> >> > >"DJ" <animix_spam-this-ahole_@animas.net> a écrit dans le message
de
>> >> news:
>> >> > >42ec409b@linux...
>> >> > >> I saw a review by Fletcher on the Aurora. He was A/B'iing it
>against
>> >a
>> >> > >Lavry
>> >> > >> Blue. He said that it wasn't quite in the same ballpark but close.
>> >Then
>> >> > he
>> >> > >> hooked it up to an Apogee Big Ben and reported that it was
>> >practically
>> >> > >> indistinguishable from the Lavry.
>> >> > >>
>> >> > >> ........'course, buying an Aurora and a Big Ben would cost about
>> the
>> >> same
>> >> > >as
>> >> > >> a Lavry.
>> >> > >>
>> >> > >> ;o)
>> >> > >>
>> >> > >> "rick" <parnell68@hotmail.com> wrote in message
>> >> > >> news:j57oe15qilp2no13g1coqhljrhmrr19o47@4ax.com...
>> >> > >> > lynx aurora. i've got lynx two and the rme fw 800; the lynx
>(two)
>> >so
>> >> > >> > far is the closest to paris. i can only imagine what the aurora
>> >> > >> > sounds like.
>> >> > >> >
>> >> > >> > On Sat, 30 Jul 2005 15:37:05 +0200, "cyrille"
><portscan@wanadoo.fr>
>> >> > >> > wrote:
>> >> > >> >
>> >> > >> > >hi all
>> >> > >> > >i'm looking for an 8 channel converters to add to my paris.
>> >> > >> > >i need something quite good, that doesn't decrease the overall
>> >sound
>> >> > >> quality
>> >> > >> > >of the rig.
>> >> > >> > >i saw frontier design tango 24
>> >> > >> > >seems quite cheap on s/h
>> >> > >> > >does any1 know this one or could recommend me something else?
>> >> > >> > >i could also trade the adat card for an 8i card.
>> >> > >> > >thx anyone who answers
>> >> > >> > >cyrille
>> >> > >> > >
>> >> > >> >
>> >> > >>
>> >> > >>
>> >> > >
>> >> > >
>> >> >
>> >>
>> >>
>> >
>> >
>>
>
>>A refund of what? How does what Sony paid to radio stations
>come out of your pocket? This wasn't a stock swindle like Enron.
The fact that by paying this $ they increased the chance of any of us having
to hear things like Celine Dion is certainly damaging to us. They should
do time in addition to paying the money.so
the ad8000 is one of those exceptions from behri ?
"Mike Audet" <mike@MikeF-SPAMAudet.com> a écrit dans le message de news:
42ee4a3c$1@linux...
>
> Hi DJ,
>
> Man, that really sucks having that kind of luck with Behringer gear given
> how much of a hassel it is for you to return it. And that fire is scarry.
> I make a special effort to never leave the house with my rack left on
since
> reading your post about that. I would feel the same way as you do if I'd
> had those expereiences.
>
> To a point, I agree that you usually get what you pay for. I have a
Neumann
> 103, and I would never even think of using anything else on vocals. It's
> worth every penny. But, it comepletely sucks on accoustic guitar.
>
> The DP/4 was freakin expensive in its day, too. So, while a DP/2 is now
|
|
|
|
| Re: Bomb attacks in London England [message #55654 is a reply to message #55646] |
Wed, 13 July 2005 11:52 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
exceptions, I
> tend
> >to get what I pay for as far as $$$ vs quality goes.
> >
> >I've got some Chinese SE Electronics mics here on loan right now that
sound
> >absolutely great........but they're not really super inexpensive
> >(unfortunately). The Gemini is definitely in the big leagues. The verdict
> is
> >out on the Titan. I'm liking it on some stuff, not so much on other
stuff,
> >but this is the case with lots of high-end mics as well. The build
quality
> >on these is not cheap at all. They are much less expensive than some of
> the
> >mics that they are being compared to so the bang for the buck factor is
> >pretty substantial.
> >
> >Not a gear snob......just been bitten a few times by Behringer. I have
also
> >heard great things about the Behringer 8000 unit.
> >
> >My problem here is that I live in a cave in the wilderness and have to
> >trudge 10 miles barefooted through 20' of snow and fight off packs of
> >ravenous wolves to get to my mailbox and I have to order everything
online.
> >There is no brick and mortar store that carries this stuff within 250
miles
> >of me so when I wait all week for a piece of gear that I need and it
> >arrives, doesn't work properly and I have to spend lots of time
> >troubleshooting it to determine why I can't just hook it up and expect it
> to
> >work, suddenly I've wasted lots of my time and so the money I've saved,
> >wasn't saved at all and I could have spent a little more and gotten
> >something with good QC and some expectaion of reliability.
> >
> >;o)
> >Deej
> >
> >
> ><Mike Audet mike....com> wrote in message news:42ee3836$1@linux...
> >>
> >> Hi DJ,
> >>
> >> You have definitly had terrible experiences with Behringer stuff, but
> mine
> >> has been the opposite. I've had a Mic-502 dual mic pre for nearly 10
> >years
> >> without any trouble at all. I've had an original composer since they
> were
> >> first released - no trouble.
> >>
> >> I recently added an ADA8000 and one of their single rack space line
mixers
> >> - both no problem.
> >>
> >> I've done a whole bunch of live recording with the ADA8000 and the line
> >mixer
> >> strapped to an ADAT, a
|
|
|
|
|
|
|
|
|
|
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