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Post by Bob Olhsson on Dec 10, 2016 12:52:42 GMT -6
Any mike after around 1959 was pin 2 hot. It took gear another couple decades to catch up!
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Post by Bob Olhsson on Dec 9, 2016 20:54:15 GMT -6
Polarity is a big deal and a no-brainer when you hear the difference.
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Post by Bob Olhsson on Dec 9, 2016 14:34:40 GMT -6
Mine has been that the performance of even ultra-experienced studio singers will improve dramatically with speakers. And John's right about speaker bleed being less of a problem than headphone bleed.
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Post by Bob Olhsson on Dec 8, 2016 15:19:24 GMT -6
If you must use cans, open yield lots better intonation than closed.
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Post by Bob Olhsson on Dec 8, 2016 15:03:24 GMT -6
Software developers going out of business are a much bigger PITA than copy protection!
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Post by Bob Olhsson on Dec 7, 2016 16:37:55 GMT -6
They work it two ways.
1. when you report damage, they issue temporary licenses that are made permanent when they get it back. You are SOL if it's lost or stolen.
or
2. the ilock is time bombed and needs to be connected to the net once every 90 days. If it's lost or stolen, they immediately issue replacement licenses.
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Post by Bob Olhsson on Dec 7, 2016 13:20:27 GMT -6
Hundreds of thousands of us use iLock with no problems at all.
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Post by Bob Olhsson on Dec 6, 2016 18:27:52 GMT -6
I think the role line stages play is huge. Based on using Fairchild 660s and 670s with Pultecs, I believed it was better to eq after the compression. When we started using plug-ins, I found this no longer made anything resembling the difference I'd heard with the hardware. My conclusion is that the Pultec just made a better sounding load for the Fairchildren than our consoles.
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Post by Bob Olhsson on Dec 6, 2016 17:00:49 GMT -6
You are probably hearing differences in line stage and transformer loading.
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Post by Bob Olhsson on Dec 6, 2016 15:12:27 GMT -6
It's a good idea to move all authorizations back to your account before doing anything invasive.
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Post by Bob Olhsson on Dec 6, 2016 9:53:18 GMT -6
I just did a search and AVB appears to be 24 bit.
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Post by Bob Olhsson on Dec 6, 2016 9:27:34 GMT -6
That is assuming the product managers and copy writers aren't merely reading the D to A chip specs with no understanding of the engineering under the hood. The onboard DSP would require a 32 float input however the issue is how the signal enters the box and not its internal DSP.
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Post by Bob Olhsson on Dec 6, 2016 8:37:21 GMT -6
I'm not sure if AVB passes more than 24 bits. There are 32 bit input chips but my understanding is that they are mostly used in cell phones.
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Post by Bob Olhsson on Dec 6, 2016 8:24:52 GMT -6
Dither is like AC bias in analog tape. It distorts if you don't add it. I try to not peak converters higher than -10 digital unless it's the final master. Many start sounding edgy higher than that.
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Post by Bob Olhsson on Dec 5, 2016 21:00:14 GMT -6
The DSP in your DAW calculates to the limitations of the floating-point calculation capability of your computer. If dither sounds strange, it's broken! 24 bit dither may or may not sound better but it should never sound worse. Down the line it will get crunchy sooner if you leave it off. You should also check that no processing is happening after the dither.
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Post by Bob Olhsson on Dec 5, 2016 18:24:19 GMT -6
Incompetent DSP design unless it's Pro Tools TDMHD with the dithered mixer installed.
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Post by Bob Olhsson on Dec 5, 2016 15:18:07 GMT -6
Mixing by committee has become SOP.
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Post by Bob Olhsson on Dec 5, 2016 15:16:49 GMT -6
It's worth mentioning that you don't really want to noise shape until the end. Even then it's probably not a good idea for something that will be sold as files.
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Post by Bob Olhsson on Dec 5, 2016 15:12:25 GMT -6
Ron Timmons too? Mark Kane and Mark Haynes are also gone. Where did you move?
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Post by Bob Olhsson on Dec 4, 2016 20:10:53 GMT -6
I learned everything from Jim Johnston's posts on the internet during the '80s while he was working at Bell Labs where digital audio was invented. Bob Katz was part of the same newsgroup.
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Post by Bob Olhsson on Dec 4, 2016 19:18:20 GMT -6
Yes, you need to monitor with dither.
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Post by Bob Olhsson on Dec 4, 2016 18:40:11 GMT -6
Airwindows seems pretty good and it's free. For Pro Tools I've been using PSP.
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Post by Bob Olhsson on Dec 4, 2016 17:54:48 GMT -6
It's important to understand that dither prevents distortion. If you add dither after truncation, you get both the distortion and the noise!
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Post by Bob Olhsson on Dec 4, 2016 17:53:04 GMT -6
Yes, in most cases one should dither to 24 bits and it's so far down that dithering when it's not needed isn't likely to be a problem. When in doubt, I dither.
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Post by Bob Olhsson on Dec 4, 2016 17:26:12 GMT -6
It you are playing it with zero processing, panning or gain changes, you are probably fine. There's a free plug-in called bitter you can check it with.
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