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Post by scumbum on Mar 9, 2017 9:34:13 GMT -6
So it looks like Clip Gain came out in PT 10 . I'm running 8 , so I don't have it .
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Post by scumbum on Mar 9, 2017 9:24:20 GMT -6
I got it in the mail , it works great ! I think I paid $26 shipped . It has wood sides , they aren't vinyl . Sure beats paying $100 or more .
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Post by scumbum on Mar 8, 2017 22:59:06 GMT -6
Michael Bienhorn recorded and produced a Ozzie record with 2 Studer 800's locked together at 7.5 ips. The machines were both 2 inch 8 track. Don't know what the alignment was, but I can probably find out. Not really a fan, but it did sound quite good! what album was it ? I'd like to listen to it .
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Post by scumbum on Mar 8, 2017 22:23:40 GMT -6
Normalization IS destructive. This is especially obvious with lower level values--even if those values are just the components of a waveform near 0 dB. Let's use an example. Assume your normalization scan indicates the overall signal should be boosted by 1dB. This means that it should be multiplied by 1.122 and change. Now assume you've got part of a signal that has 4 bits of magnitude. Expressed as integers, you can code values from 8 to 15. Multiply those values by the boost of 1.122. A value of 8 turns to 8.976. A value of 15 turns to 16.83. But there's no such thing as a fractional bit. Those values must be rounded or truncated (they're usually truncated). So our original value of 8 stays at 8 and our original value of 15 now becomes 16. We haven't just changed the gain of the waveform--we've distorted it. This is less obvious in the louder parts of the signal, since the error is lower. But for every time a wave hits a max, it also passes through a min. If you absolutely feel like you've got to change the gain, then clip gain is better. It's non-destructive and the math will happen in floating point, pushing the error waaaay down. But the real question is why you want to normalize in the first place. Maximum signal level is only loosely connected to perceived loudness. The loudness you perceive in a track is a function of the actual content as well as the tracks before and the tracks after. There's no reason to introduce distortion into a track--especially when you're making it permanent. Final adjustment of overall levels should be moved to as late in the process as possible. Clip gain ......you mean in Pro Tools the Digirack "Trim" plugin ?
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Post by scumbum on Mar 7, 2017 21:21:38 GMT -6
I've never understood the normalization thing, mostly because when I learned, the guys that were tracking were always setting their levels to tape so that when they put all the faders to 0 on the console - you had your basic rough mix. I've been doing it like that ever since. I was thinking today if you had specific levels you liked , -12 kick , -12 snare , guitars -20 .........you could normalize everything to your prefered level to get it right in the ballpark when you begin a mix . Then do your final tweaks to the levels with the faders and you'd probablly always be pretty close and save a decent amount of time .
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Post by scumbum on Mar 7, 2017 15:55:54 GMT -6
I'm gonna admit something embarrassing. I don't really know what "normalizing" is and I've never done it. Thank you. Ragan Do you use pro tools ? if you do go to the audiosuite plugins , and you'll find Normalize . Highlight a section of audio and if the plugin is set at 0 it will then change the highest peak of that audio to hit right under or at 0 . It's just quick volume control , but for doing comparisons of stuff like mic pres you can match levels exact .
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Post by scumbum on Mar 7, 2017 14:06:00 GMT -6
So if using Normalization is non destructive then there is absolutely no reason at all to record loud levels because you can always turn them up later come mix time using Normalization . Ronan Chris Murphy said some converters even before 0 start to distort a little so even getting near the top is not good . You could pretty much just leave your mic pres gain knob all the way down if you wanted all the time . What level when recording at 24 bit is actually TOO low . This would be based on the mic pres noise floor ?? Lets say a CAPI VP26 . How low can you record with a VP26 before noise becomes a factor ? Heres a beautiful chart I found ,
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Post by scumbum on Mar 6, 2017 15:58:33 GMT -6
Why not just price the unit such that shipping is a flat $20 around the world? Claiming it'll cost $399 but shipping is $100 isn't really being honest to the customer. Your pricing seems like you took pricing lessons from GainSaver.com lol Or don't even say shipping charge , just have one flat rate , say it costs $499 shipped worldwide . That alone will save time figuring out all the different shipping costs . If some people pay a little extra than oh well....it's too complicated to get exact shipping rates for each customer . a lot of online component stores charge a flat $8 for the cheapest shipping even if you order 1 little capacitor . They don't have time to deal with it all . $8 is the cheapest shipping period .
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Post by scumbum on Mar 6, 2017 15:16:14 GMT -6
I wish I had the same setup as you.......I don't , but I do have that exact same Lava Lamp in that exact same spot ! So thats a start . Well... I started the same way... I had that lava lamp before any of the gear or the desk, lol... so you're definitely on your way. Nice !!! See there you go......people ask which should I invest in first for my studio.... mics , converters , monitors...........the answer is LAVA LAMP !
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Post by scumbum on Mar 6, 2017 10:40:43 GMT -6
The Argosy desk I have here has been great. In the middle I have a Mackie control and computer keyboard. And two additional Argosy rack units to the left and right of the main desk house additional gear and my patchbay I wish I had the same setup as you.......I don't , but I do have that exact same Lava Lamp in that exact same spot ! So thats a start .
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Post by scumbum on Mar 5, 2017 11:36:03 GMT -6
Eric Valentine seems to like Digital first / tape second . Heres his explanation , but I don't fully grasp it . I think he says its easier to get a harsh high end going analog first / digital second . "the other benefit of doing digital first/analog second is the sound. One of the things that most people credit for the pleasing sound of analog is the harmonic coloration. Tape machines are adding a healthy dose of 3rd order harmonics. I believe it is these harmonics that give tape its somewhat magical airy, dense but very un harsh high end. This is what I believe is going on: lets say you have a cymbal sound that is focussed around 10K. The 3rd order harmonic that is generated by the tape machine above that is about 30K. So now you have this very hi over tone that is interacting with the original sound that will subtly change the character of the sound (there is debate about if/why/how these overtones affect things but we'll assume they do for the purpose of this example). If you then transfer the analog recording to digital lets at 48K, there is a very necessary brick wall low pass filter at 24K to eliminate the digital aliasing noise. Goodbye 30K overtone. The 30K overtone is not just filtered off. It is first devoured by hideous square wave digital noise and then filtered off. (This explanation is based on my somewhat limited knowledge of digital technology and could be better explained by a digital expert.) The one thing I have experienced over and over is the difference I feel when mixing from analog verses digital. It is way easier for me to get the high end to "open up" when mixing from analog. I can boost the high end very aggressively without it being harsh. When digital is last in the chain for some reason I feel like I am pushing against a ceiling with the EQs. Things tend to transition into harsh more easily before they open up." www.gearslutz.com/board/q-eric-valentine/631591-current-use-analog-tape.html#post6947840
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Post by scumbum on Mar 4, 2017 16:39:23 GMT -6
Is the Pro Tools Normalization plugin pretty good at not degrading the the quality of the audio ? Or are there better Normalization plugins out there ?
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Post by scumbum on Mar 3, 2017 18:39:38 GMT -6
Whats the pre-order cut off date ?
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Post by scumbum on Mar 3, 2017 18:30:18 GMT -6
So a 1290 is the same mic pre as the 1073 but without the EQ ?
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Post by scumbum on Mar 3, 2017 14:58:23 GMT -6
So the original silver P120 has a smaller 0.66 capsule and the newer black P120 has a bigger 0.74 capsule . I have the newer black version which sounds better . This guy does a good comparison .
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Post by scumbum on Mar 3, 2017 13:54:16 GMT -6
I have it's older brother with more features: the AKG Perception 400 (which was eventually updated to the Perception 420 then eventually the P420). I think the capsule on the 400 is a little larger plus it has three polar patterns. Truthfully, I dig the mic. It's not nearly as bright as some of the other cheaper mics I've used. It's been really good on acoustic guitars, the right vocalist, and a number of different places in drum setups. I have an upright bass coming into the studio in the near future and I'm intending to use the 400 in omni to get close and detailed without getting tubby and proximity-effect-laden. I have two of 'em because I wanted to be able to do Mid/Side on acoustic guitars (which I love) and spaced pair drum overheads/rooms. That's cool ! I get confused with all the variations of the Perception line . From what I've read the 400's capsule is 1 inch and intended for general multi purpose recording . The P120 has a 0.66 inch capsule and mainly for vocals . I'm impressed with AKG's cheap Mics . I'm gonna use it more and more and over time maybe realize its not that great , but for now it's gonna be on vocals .
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Post by scumbum on Mar 2, 2017 22:52:56 GMT -6
I picked up an AKG P120 mic for doing scratch recordings of ideas but this mic is sounding really good to me . I was expecting a harsh sibilant mic but it sounds clear and nice .
Anyone else use this mic ?? I have doubts about what I'm hearing because of the cheap price tag , but for vocals its sounding really good . Better than my Shure KSM32 on Vocals .
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Post by scumbum on Mar 2, 2017 22:46:07 GMT -6
Anyone know a tech in the area? Closest I can find is Sacramento. This guy is good . He rebuilt my brother in laws MCI Console and tape machine . Also will work on your LA2A . analogrules.com/
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Post by scumbum on Feb 25, 2017 15:39:29 GMT -6
Both of those Niles Audio units should be very good quality. Cool , I bought the old school looking one . I'm a sucker for anything with wood grain vinyl .
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Post by scumbum on Feb 25, 2017 12:23:14 GMT -6
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Post by scumbum on Feb 25, 2017 12:20:43 GMT -6
The Coleman Audio LS3 Line Selector looks cool . Seems like you could hit all 3 switches and listen to all 3 pairs of speakers simultaneously off 1 power amp . Is that possible ? Those are cool boxes . What about ebay ? Any cheaper products on ebay ?
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Post by scumbum on Feb 25, 2017 10:43:23 GMT -6
Why not use a high quality selector? How much would one cost ? I could get connectors for probably under $20 .
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Post by scumbum on Feb 25, 2017 10:14:48 GMT -6
I have multiple speakers and one amp and want to quickly be able to plug in different speakers when I wanna listen to them using the one power amp . What are some connectors I could use to do this ? My amp doesn't have the banana connector .
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Post by scumbum on Feb 25, 2017 10:01:18 GMT -6
How close does the Sonnox Reverb emulations get to the Lexicon sound ? You know the presets they have under emulations and theres a list of Lexicon presets . Anyone ever compare them ?
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Post by scumbum on Feb 24, 2017 10:24:08 GMT -6
So a lot of the big time mixers say they know when the low end is good on NS10's when they start to hear them Fart . Not wanting to blow up my NS10's , what db level should I be at to safely try this ? How do I feed them audio beans and get them to Fart without over doing it ? What amp are you using? Where are they located? On a console? How far apart? Upright or on their sides? Which model? Original NS-10M? I use my NS-10Ms (with Yamaha P2200) either at very low volume or at the point to where everything is starting to break up , just not quite yet. It is at that point you can feel the bass hitting your chest in a way that you know is 'just right'. That may be what "they" mean by 'start to hear them Fart' perhaps? I'm using an Alesis RS300 amp , on stands with foam underneath the speakers to decouple them . On their sides , about 4 feet apart . Yep original matching pair of NS10's .
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