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Post by matt on Jan 14, 2015 12:42:06 GMT -6
There has been massive hype regarding Amphion over at GS; the main thread verges on being worshipful. However, there seems to be truth in the praise, perhaps a whole lot of it. There is certainly a chorus of positive reviews coming from a number of new owners, including people I respect. Thanks indie, for starting this thread.
My long term plans include detailed room re-alignment/treatment, and upgrading my mains. So my interest level is high.
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Post by matt on Jan 14, 2015 12:23:32 GMT -6
Creative recording artists today are treated like strippers: popular and desireable if they are hot, dumped the minute they become too familiar, and never respected. Only industry legends are mostly exempt from this harsh reality. It's shameful.
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Post by matt on Jan 14, 2015 12:15:52 GMT -6
if your serious about coming Matt, i'll see if i can get you a hookup? Thanks Tony! I'll see if I can arrange things at my day job, and let you know.
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Post by matt on Jan 13, 2015 23:49:40 GMT -6
WHOA...I'm really, really, really not recording Led Zeppelin drums in my house...but how freaking cool is that? I am! Or I'm trying to, anyway. It may be too good to be true, but it's a beautiful thing nonetheless.
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Post by matt on Jan 13, 2015 22:55:16 GMT -6
More than a rumor, it seems: If true, I'll take two . . .
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Post by matt on Jan 13, 2015 22:47:43 GMT -6
Ah, damn! I lost contact with my badge source and I currently have no way to attend. Curses, Foiled Again!
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Post by matt on Jan 12, 2015 14:38:28 GMT -6
Spotify: Just Say No
I probably won't subscribe to a service until HD content is widespread, and equality is established for artist royalty payments.
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Post by matt on Jan 9, 2015 7:29:20 GMT -6
It always reminds me of going on a date with a sexy girl that has no intellect whatsoever. She's sexy, but I feel dumb. I fail to see a problem here. Sometimes you just gotta say WTF
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Post by matt on Jan 8, 2015 7:30:41 GMT -6
This music makes me feel funny inside
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Post by matt on Jan 6, 2015 12:31:07 GMT -6
Bumping this thread. I'm going over the logistics of staying on PT Cubase will work equally well in both PC and mac formats. . . . It is a fantastic software program and you will be amazed how much easier/faster it is to run than PT and how much more you can do without having to purchase a single outside plugin. R Thanks Randy! This is great information; you've given me a lot of food for thought.
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Post by matt on Jan 6, 2015 11:43:06 GMT -6
Hmm I don't see a demo version. Darnit.
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Post by matt on Jan 6, 2015 10:03:22 GMT -6
Bumping this thread. I'm going over the logistics of staying on PT, and I don't like the numbers. For me, now would be a good time to convert to Cubase. So, I have some general questions for you Cubase folks:
1. Which is better for Cubase, Mac or Windows? Any advantage of one over the other? Is there a Windows equivalent to OSX's aggregate audio device? (I need this to run my Apogee interfaces). 1a. Any issues with Cubase and Apogee Symphony64? 2. Are there any (recent) plugins that refuse to work? 3. Is there anything missing in Cubase that is in PT 11? 4. How does VariAudio compare to elastic audio in PT? Does Melodyne integrate well? 5. What's it like to work with the equivalent of playlists and build comps off them? 6. What's MIDI like to use and edit? (I'm using an Alesis DM10X kit into BFD3). How is it on latency? 7. Anything else to be aware of? Stability? Resource usage? Etc . . .
Thanks!
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Post by matt on Jan 6, 2015 9:05:30 GMT -6
Avid seems to have a way of breaking it off in the customers who built the company. The HDX (AAX) thing is proof. I can't really understand the "buy this because we no longer support that" thing. So true! However, the move to AAX (as I understand it) resulted from a move to 64 bit processing. And also that TDM (48 bit fixed) became a dead-end technology over time. But the transition was poorly managed by Avid IMHO, and in the end emerged as a symptom of fundamental issues at the company. If you don't know your customers, you will fail in the marketplace. Simple. Or not.
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Post by matt on Jan 6, 2015 8:55:23 GMT -6
PT 11 Native here. Looking for a way to get a legit copy of HD software that I can register in my iLok account w/o having to buy an Avid interface.
Apologies in advance for veering off topic, but IMHO the value of a product is about more than ease of use.
When I got into serious audio production almost two years ago it seemed that PT was the "standard", so I went with it. Why not, I didn't know any better, and PT had a solid reputation - from what I read. But Avid is making me regret the decision. Their marketing strategy - if you want fully unlocked software, pay $4K and get a nice hardware dongle too - is elitist and tells me that they are not interested in "hobbyists" like me, who don't do audio as their day job but but consider it their main avocation and a spend significant portion of discretionary income (OK, all of it, and then some) on audio gear and related software. Some people have Jet Skis, I have a recording studio. Avid should understand customers like me, and have a way to identify us, and sell things to us. Things that we need and are not forced to buy. Truly, I do not understand why they don't offer a CPTK for PT 11, it makes no sense. I would buy it instantly.
Now, full membership in the PT world is $199 per year for Native, $599 for HD. An iconic software brand has been reduced to the level of a subscription service. What a shame. Like the management at Waves, they have failed to understand that making registered users effectively re-buy the software over and over again just to get continued basic support is not going to be popular with the user base and ultimately damages the brand. It's this little thing called competition, and it has a tendency to hurt businesses that make short-sighted decisions. Drive customers away, and they almost never come back.
Of course, they have a right to come to market as they see fit. Conversely, I have a right to not buy the things they sell, and move on. This is the question that PT owners should not be asking, IMHO, if Avid would only wake up and see the potential endgame. If I sold a product, I would not want my customers considering other options, particularly over a marketing decision I made.
All companies need a continuous revenue stream (and Avid has struggled to generate such of late), so maybe they should offer a tiered support model like that of many other software vendors: provide basic support (bug patching) for free, and offer feature enhancements and additional professional support as optional value-added services. This is a time-honored and successful way of doing business. I don't get it, that Avid doesn't get it. They must be desperate for revenue of any kind. Their latest numbers are abysmal.
Yeah, I know I am just echoing the sentiment of the Avid community at large, but in this case there is truth in the chorus of dissent. There usually is, if enough voices are heard. I still fear for the future of Avid as a company, even though they recently stated earnings for 2012 and have been re-listed on the NASDAQ (or are working on it) .
To get back on topic: increased instability at Avid would be the one thing that would make me move off of PT to Cubase. When the Levee Breaks, Mama You Got To Move.
Now please excuse me while I step down off my soapbox and close the vent.
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Post by matt on Jan 2, 2015 16:48:29 GMT -6
Johns is also extremely critical of Spector's production of Let It Be, and of the band in general. I know that there is a widespread sentiment that the album is not The Beatles' best, and Glyn most definitely agrees with this. He pulls no punches. He says that he is not trying to be controversial in this book, but methinks he is being a bit disingenuous. He has gotten significant press coverage, in part due to the juicy content therein. Good for him, controversy always sells.
Listening to Let It Be now. Is this The Beatles at their worst?
1. Two Of Us 2. Dig A Pony 3. Across The Universe 4. I Me Mine 5. Dig It 6. Let It Be 7. Maggie Mae 8. I've Got A Feeling 9. One After 909 10. The Long And Winding Road 11. For You Blue 12. Get Back
Maybe, but it's most certainly not "garbage". What songwriters they were, even in disarray! Old Glyn has got his knickers in a twist, 55 years on.
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Post by matt on Dec 29, 2014 20:39:18 GMT -6
so out with the eggnog and in with the beer! Indeed. Stella Artois spoken with great frequency in Arizona, USA! Welcome to RGO.
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Post by matt on Dec 29, 2014 20:32:32 GMT -6
IMHO the circumstances of production and the variables of a song - it's structure, melody, vibe, how it's mixed, etc - outweigh the method of capture, in the end. If you are cutting a track for world-wide release in anticipation of a potential Grammy, by all means play through the best amps, mics, and recording chain. You will be able to afford it, most likely. Otherwise, do what's best for the process of creation. I can see where a Kemper and technologies like it can enhance the demo process. So unless the thing sounds like shit, if it helps the process along, use it.
While not a Kemper, my Two Notes Studio has become core to my recording process, and sound. In my dreams, I hope that someday interviewers will ask me, "How Did You Get That Sound?" My reply would be, "Well, it's complicated . . ."
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Post by matt on Dec 28, 2014 15:04:37 GMT -6
My guess was 50/50, I picked B and C as the amp. True enough, the Kemper is impressive. I think if you dial in the gain structure, and work the tone stack, you effectively get what you need in the Kemper for tracking purposes.
My current recording rig is 100% centered around the Two Notes Studio. The signal chain: amp head > Studio > Symphony sounds so good I haven't even bothered to A/B it with my old method of recording egtrs (TLM 102 on a Marshall 412 > Slate Fox > Symphony). I am finishing up a track where half the guitars are through the Studio and no one can hear any difference. And I'm using the default speaker simulation when the third-party IRs are supposed to be better. No more mics for me on electrics. I was tracking at 3AM the other night with my favorite amp (100W Marsha) set on Preamp 5/Master vol 4 in complete silence. Well, near silence. There was pick noise and some headphone bleed. And some occasional cussing at the shitty playing of the damn guitarist. Someone buy him some lessons, or something. Sheesh.
I like the Kemper, but I want a Little Walter!
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Post by matt on Dec 27, 2014 16:25:00 GMT -6
Just wanted to get some opinions Cool test. To my ears, all four tones are useful. It is interesting that the gain structure is noticeably different for the two channels of your amp. Good luck deciding! I'd end up keeping both!
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Post by matt on Dec 26, 2014 18:50:03 GMT -6
From Colin... Basically the same as the 54F50 but without the illuminated meter, and single attack speeds (like an original Neve 2254A). Hmm, the kit shows the meter. I am looking at the 54F50 - the coincidence is alarming. Looks like you can get an ez2254 built for 795 BP. Between shipping and currency exchange fees, I estimate final cost for a completed one at around $1300. Interesting, verrrry interesting.
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Post by matt on Dec 26, 2014 18:37:07 GMT -6
My signal flow is that I leave PT once, out to the console via aux sends, where outboard is added (mostly in parallel) and then summed back into PT. There is significant latency for the round trip but I don't think there's a delay compensation problem. Please correct me if this assumption is mistaken.
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Post by matt on Dec 25, 2014 0:31:59 GMT -6
I have a suggestion of the year for my RealGear friends, (those who don't have one already), get a turntable. The heart and soul of the artist gets through to you on vinyl, and makes you feel better, every time. Perhaps the wisest comment to date on RGO, IMHO. Happy Holidays, and spin some records!
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Post by matt on Dec 24, 2014 17:08:35 GMT -6
So Cool. Thanks Geoff. Any idea where the recording is from? The clips are from the In Through The Out Door sessions, recorded at Polar Studios in Stockholm, I believe.
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Post by matt on Dec 23, 2014 14:12:39 GMT -6
Yes, this is a great idea! Funny that its not been done yet. Bricasti, mmmm . . .
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Post by matt on Dec 22, 2014 15:04:07 GMT -6
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