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Post by Bob Olhsson on Dec 29, 2016 19:33:50 GMT -6
The problem with lossy encoding is that the first thing the audio hits is a 1/3 octave filter bank. That clips very easily. There's just no reason to push the level up another half dB.
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Post by Bob Olhsson on Dec 29, 2016 18:47:25 GMT -6
-.3 or .5 keeps you out of trouble in a DAC but -1 is best for lossy-encoding. While lots of stuff is clipped, it's silly to do that with material that will be streamed.
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Post by Bob Olhsson on Dec 29, 2016 17:24:44 GMT -6
I don't know about Australia but here in the U.S. the performing rights societies can connect people. I think the thing to understand about publishing is that it's all about being in the right place at the right time with the right song. Back in the '90s I created a hand out for a rappers' conference that pissed off a bunch of suits. Here's a link: thewombforums.com/showthread.php?183-Knowledge-Is-Power
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Post by Bob Olhsson on Dec 28, 2016 16:25:25 GMT -6
Broadcast supply houses such as Markertek and Redco sell no-nonsense high quality cable to customers having staff engineers who can't afford failure.
The problem is music stores who view cables as a high margin add-on purchase to accompany gear they must sell at very competitive prices.
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Post by Bob Olhsson on Dec 26, 2016 17:18:55 GMT -6
They had to go rental/update-service contract due to SEC requirements for publically traded companies. The only other thing they could do was all free upgrades until you are forced to buy new hardware a-la-Apple. At least they didn't go all subscription like Adobe. The '90s are over!
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Post by Bob Olhsson on Dec 26, 2016 17:10:25 GMT -6
I personally got burned big-time by the "hit men" but that was only a brief unfortunate period of time.
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Post by Bob Olhsson on Dec 26, 2016 11:27:48 GMT -6
The music business has always attracted gangsters because phony ticket and record sales are an excellent way to launder money. I've seen far more dishonest managers than labels.
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Post by Bob Olhsson on Dec 26, 2016 10:59:16 GMT -6
On a very few people M-88s can also have sibilance issues. I've used my 1970 Unidyne III SM56s successfully. I've never tried a newer one than the mid '70s.
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Post by Bob Olhsson on Dec 22, 2016 21:19:11 GMT -6
I've never heard anything with as uniform a directional pattern.
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Post by Bob Olhsson on Dec 22, 2016 20:51:50 GMT -6
They aren't nearly as exotic as the LDC capsules. I had a dead KM-84 so we opened it up and the diaphragm dropped right out. Figuring at worst we'd need to spring for a new capsule, we dropped it in an ultra-sonic bath, popped it back into the mike and it still works perfectly.
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Post by Bob Olhsson on Dec 21, 2016 19:02:39 GMT -6
Redco is usually as cheap as buying the parts. www.redco.com/ I like Gotham 3 conductor and the Redco 3 conductor knock-off.
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Post by Bob Olhsson on Dec 19, 2016 20:40:19 GMT -6
Hell, we were thrilled to use a Mac format drive we could move and back up. I think I paid $2500 for a 650 meg CDC SCSI drive.
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Post by Bob Olhsson on Dec 19, 2016 20:24:26 GMT -6
Lots of memories of the daze before macs could read and write audio in real time.
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Post by Bob Olhsson on Dec 19, 2016 19:12:16 GMT -6
If anything goes wrong with an SSD, you can say goodbye to your data. Spinners can usually be recovered although it isn't cheap.
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Post by Bob Olhsson on Dec 15, 2016 8:12:21 GMT -6
Typically the blind have been following the blind. Back in the day consoles were assembled in the studio shop or by a contractor according to what the people using the console wanted. Store-bought consoles began with Tascam! MCI was the first "pro" store-bought console and SSL was just an MCI without as much headroom and without all of the cold solder joints. It had automation that actually worked so people put up with its inferior sound quality.
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Post by Bob Olhsson on Dec 14, 2016 17:48:32 GMT -6
I saw so many articles where somebody I know described something that I know they wouldn't do.
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Post by Bob Olhsson on Dec 14, 2016 11:03:29 GMT -6
A LOT of mix and RE-P interviews were pranked which led to a great deal of mythology about how things should be done.
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Post by Bob Olhsson on Dec 14, 2016 10:59:43 GMT -6
They changed the license on Space but you can still download ones that work with the old license.
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Post by Bob Olhsson on Dec 12, 2016 19:33:48 GMT -6
I just discovered something for Pro Tools 11+ users. Kazrog masterDither appears to have no latency! That beats needing to add the latency of a limiter with pre-delay.
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dither
Dec 12, 2016 15:26:58 GMT -6
Post by Bob Olhsson on Dec 12, 2016 15:26:58 GMT -6
My understanding is that all ASIO is a 24 bit connection.
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Post by Bob Olhsson on Dec 12, 2016 15:21:17 GMT -6
Audio snakes and patch bays have always been the weakest point in studios. There hasn't really been a competent console design since the late 1960s.
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Post by Bob Olhsson on Dec 12, 2016 15:15:13 GMT -6
I've never known anybody who wanted to learn a new OS or DAW.
Many of us middle class types in the U.S started out on Macs in order to use Performer. Lots of people still use it in dread of taking on what might be a comparable learning curve elsewhere. Logic was/is the king of virtual instruments. That made it worth learning especially at the new price. Cubase has always been king on the PC side both outside the U.S. and among people who couldn't afford a mac. A light version came with their sound card and they upgraded with zero interest in learning something else.
Pro Tools was the first DAW under $30,000 that could lock to picture and to a multitrack recorder. It quickly took over post production and ended up being acquired by Avid because they accounted for more than half of Digidesign's income. Auto-Tune put a Pro Tools rig in every large music studio control room replacing the Eventide Harmonizer. As the cost of storage declined during the '90s, people began recording whole sessions in Pro Tools simply because it was there and they knew how to use it. In my case, I got into it doing post production in the San Francisco area.
I don't see anything replacing PT for its core users short of a revolutionary new time-saving product. A cheaper version of Pro Tools is a non-starter. If you want to get a job as an employee, you need to know it. The self-employed can and do use anything they choose.
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Post by Bob Olhsson on Dec 11, 2016 15:36:49 GMT -6
You'd never use dither for recording unless you are recording to 16 bit files.
When you need dither is when audio is being processed because that expands the bit depth to as close to infinity as the hardware and software allow and the resulting number stream needs to be dithered down to 24 bits so it can be streamed to a D to A or written to a file. This prevents distortion that masks low level information and builds up to crunchy sound. The one exception is printing a floating point file which minimizes but does not completely eliminate the distortion.
Airwindows is real good but used to only be audioUnits so I'd never tried it. The new shareware versions are also mac/windoze VST and pauldither sounds really good to me too.
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Post by Bob Olhsson on Dec 11, 2016 13:41:31 GMT -6
Something that took me decades to figure out is that the people who like really loud headphones often wear them in front of and not over their ears!
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Post by Bob Olhsson on Dec 11, 2016 13:39:24 GMT -6
Pro Tools has never been the most popular DAW for music unless you are talking about working with a full-on recording console or needing compatibility with studios using recording consoles. "Everybody" was "jumping ship" for Reaper a couple years ago. Now it's Studio One. Cubase remains king of the MIDI hill.
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