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Post by porkyman on May 18, 2020 10:54:28 GMT -6
I got mine. It shipped in 2 days from Chile to LA. What the hell is wrong with all the other carriers.
Haven’t tried it yet but I like how it comes in a carry case. Super cool.
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Post by porkyman on May 18, 2020 10:49:17 GMT -6
Studio one. It has a setting for pt hot keys which makes it easier. I still struggle sometimes with it. Especially editing but the relief of being free of pt is worth it.
Also if you’re working hybrid nothing compares to pipeline. It is so vastly superior to pt. It works like a plugin with input output and mix. The post hardware attenuation has been huge for me allowing me to match levels and bypass to get a more honest picture of what’s happening. Also the mix knob can turn any piece of hardware into parallel. Obviously this can be done in any daw but not as effortlessly.
I’ve tried them all and think samplitude is the easiest to convert to from pt and the most advanced. S1 is more reliable though in my opinion. Also has better midi and of course pipeline. Pipeline to me is the #1 reason to go S1. I love it.
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Post by porkyman on Mar 21, 2020 18:29:58 GMT -6
I have one I didn’t build. You have to get the toroid just right or it’s pretty noisy. If you build one plan on shielding it or putting outside the box or else it’s more of a pain than it’s worth. Sounds rad though.
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Post by porkyman on Jan 10, 2020 11:36:34 GMT -6
Probably because as you pointed out is $900-435 a channel vs $90-45 a channel for 500. Im talking about just the chassis of course. Thats 10x the cost Plus it takes up 8U of space for 8 modules vs 3U for up to 11 modules. I don't think it'll matter what people make for them, no one will buy them like people buy 500 series. It's too expensive. I think the question is why the hell theyre so expensive. Not really more parts and labor. Warm Stam everyone could be making 1081’s for Less than their 73’s are now (bc no psu) if someone actually made an affordable rack.
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Post by porkyman on Jan 10, 2020 11:36:18 GMT -6
Probably because as you pointed out is $900-435 a channel vs $90-45 a channel for 500. Im talking about just the chassis of course. Thats 10x the cost Plus it takes up 8U of space for 8 modules vs 3U for up to 11 modules. I don't think it'll matter what people make for them, no one will buy them like people buy 500 series. It's too expensive. I think the question is why the hell theyre so expensive. Not really more parts and labor. Warm Stam everyone could be making 1081’s for Less than their 73’s are now (bc no psu) if someone actually made an affordable rack.
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Post by porkyman on Dec 6, 2019 19:25:15 GMT -6
This is awesome svart. Thanks.
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Mix Height
Nov 15, 2019 18:25:07 GMT -6
via mobile
Post by porkyman on Nov 15, 2019 18:25:07 GMT -6
Or izotope visual mixer.
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Mix Height
Nov 15, 2019 12:48:08 GMT -6
via mobile
Post by porkyman on Nov 15, 2019 12:48:08 GMT -6
Have you tried using tilt plugins/hardware like Ltl?
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Post by porkyman on Nov 10, 2019 15:31:25 GMT -6
Every single mixer has a template. Every single one. Even if they don’t realize it. That’s how they’re able to pump stuff out. They’re even starting to sell their templates now btw. Watch this video of rick beato analyzing Andy Wallace. Notice how every kick snare bass etc are identical. It wouldn’t matter what session you sat it on the moves/actions would be virtually the Same. It’s not a bad thing either. You hire CLA bc you want that CLA sound. That CLA “sound” is in fact a “template.” I don’t know the op but what I gathered from the original post was that he wanted to be able to mix is OWN stuff. He’s trying to get his own music to sound the way he wants it. And to me the best way is to sit it on one song and try to mix the rest of the album using the PRO track as the ultimate reference. I honestly don’t think there is a better way than that. NOT ONE professional engineer I've worked with has or had a template and I've worked with a few. Even on a album not every song is the same - that would make for a really boring album.
And I'm not interested in watching any videos because you can't learn to mix from a video.
You are not CLA. Even if you had his "template" you would not be CLA because you don't have the knowledge and experience to understand why he does what he does - which I personally don't like, he's the poster boy for "cookie cutter" mixing. That being said, if you were to have the opportunity to observe him in the studio over a number of projects I would bet money that he doesn't stick to his "template" on the songs he mixes - it's only a starting point. And starting points are personal things - what works for one person may not and probably will not work for another. Not that CLA is going to tell you that because he makes a pile of money teaching his "method" to suckers who think that if they pay him a few thou for a week long seminar that will make them a professional engineer like CLA - which it won't. All it will do is make them poorer and CLA richer - in an environment when even a guy like CLA needs all the work he can get. (Do you really think those guys would be wasting their time doing seminars if there was enough work to go around?) And I've never heard of ONE person - not one - who became a professional engineer because he paid for a "mixing with the masters" seminar to learn somebody's "template". That's for rich suckers.
Dig it - NO TWO SNARE DRUMS SOUND THE SAME. Not only that, but no two drummers will sound the same EVEN USING THE SAME DRUM. You can compoud that for pretty much every instrument, so even if you do use a "template" you'll be constantly diverging from it - unless you sample replace everything and that's not real engineering - that's being a hack.
I'll admit - I do use a "template" of sorts - it's called "ZEROING OUT THE BOARD". Most guys do that. You start with a clean slate. Then you use the most important piece of gear you possess - that's called your "EARS", which are actually there for reasons other than holding your hat up or keeping your glasses from falling off.
There's another basic "template" that everybody uses, which is the order of channels you use on the board. Not the settings of those channels, the ORDER, so that you always reach for the same thing in the (approximate) same place. NOT the settings, just where the drums live and in what order, the bass, the guitars, the keyboards, the horns, the vocals, FX returns, usually in approximately that order (with spare open channels to accommodate different numbers/channels of particular instruments.) You also set up your submix assigns the same way and often the assigns to your processors. NOT the settings, the assigns. With experience you may find you have rough starting points on particular processors, but that will vary with the individual units and your personal taste - which will change with your experience.
But none of that has much of anything to do with how you actually use them, which depends on the material and performance. It's just something you do so you don't have to blunder around trying to remember which channel (or send, etc.) is what. It's like learning where the doors are on a car and which pedal does what.
You guys are so ridiculous. Everybody has a template. Everybody has a template bc they are ppl and ppl are creatures of habit. Everybody sets faders to zero. Who cares. Doesn’t mean they’re not gonna use the same chains and techniques they use on every mix. It doesn’t matter that every drum/drummer is unique when you’re using samples. If you watched the video you’d know that when I say identical I mean they are literally the exact same sample for every single band. Of course hard work/experience are important. But there are young engineers who are every bit as good as the old (learned the hard way put the time in) guys and they haven’t been on the planet long enough to have either. In the future you will be able to pick the E you want and ai will do the rest. Will it be exact? No. But you’ll still be able to tweak from there and make it your own. It’s already happening to the mastering guys. The mix guys are next. Not what guys trying to make a living want to hear but it’s the truth.
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Post by porkyman on Nov 10, 2019 11:52:49 GMT -6
There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. You miss his point 100%. How is sitting in on your own session versus working somewhere and watching 150 other peoples sessions the same? You don't learn much sitting in on your own session. You don't have any idea what you're gonna learn watching 150 other peoples ssessions until you've done it. I don't see many template's in action in serious creative recording sessions. Every single mixer has a template. Every single one. Even if they don’t realize it. That’s how they’re able to pump stuff out. They’re even starting to sell their templates now btw. Watch this video of rick beato analyzing Andy Wallace. Notice how every kick snare bass etc are identical. It wouldn’t matter what session you sat it on the moves/actions would be virtually the Same. It’s not a bad thing either. You hire CLA bc you want that CLA sound. That CLA “sound” is in fact a “template.” I don’t know the op but what I gathered from the original post was that he wanted to be able to mix is OWN stuff. He’s trying to get his own music to sound the way he wants it. And to me the best way is to sit it on one song and try to mix the rest of the album using the PRO track as the ultimate reference. I honestly don’t think there is a better way than that.
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Post by porkyman on Nov 10, 2019 10:35:05 GMT -6
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho. You don't get to learn "hands on" without fetching coffee and sweeping floors. And you won't learn much in a one or two week paid course.
You don't learn to mix from "templates". You learn by listening and observing. And there is no substitute for time.
There are no shortcuts.
Working on your own material without real experience is a detriment. You already have fixed ideas that might and will stand in the way - you have no objectivity. You won't really be "hearing what the pros are hearing" because you can't - you ears aren't trained for it and training your ear takes time.
What you're saying is the same thing as saying that you'll learn more by jumping into a race car before you've taken driver's ed.
When you're fetching coffee and sweeping floors you ARE sitting in on the sessions of more experienced engineers. After you've done that for awhile then you get elevated to tape op (or protools op these days) Then after doing that you get elevated to second engineer. Then one day the first calls in sick or something and you're in the first chair or somebody asks for you by name.
Lol. I bet you walked up hills both ways in the snow to school every day. There is exactly 0 difference between paying to sit in on a session and sweeping floors to sit in on a session which in all actuality IS paying to sit in on a session. The “template” IS listening and observing. You know the exact moves the engineer made and when. So you set your faders and listen. You know the E went straight for the snare so you try to figure out what he was hearing. Then you set comp/eq/fx etc the way he set them and listen. It’s like you get to sit in on a session as many times as you want without sweeping any floors. Every advancement man makes is a “shortcut.” You don’t have to do things the old/hard way anymore. That’s why they call them “advancements.”
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Post by porkyman on Nov 8, 2019 21:57:12 GMT -6
I'm not sure how that would work in actual practice. Most of my moves are simple sweeps of things until I hear what I like, or trying different settings quickly. It would take 10x longer to try to explain why I do things to someone else and it would completely break concentration doing so. Which is why you need a job in a real studio. You will learn 1000 times more by sweeping floors and fetching coffee in a real studio than by having someone, even a "name" someone, walk you through mixing one or two tracks.
Mixing live in a club is almost as good because you learn to work fast, "in the moment".
Disagree. Sounds crazy but I think you’ll learn more from any engineer teaching you hands on than fetching his coffee and sweeping his floors. I think it’s the best possible way to learn. Do one song and have the template to finish the rest of the album by yourself and have the ultimate reference track to match. References are where you make the most gains. Hearing what the pros are hearing before and after they make their moves. Especially when the source material is your own and you know it so well. Even if I was the #1 engineer in the world I would find it infinitely informative to sit in on another engineers session. Jmho.
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Post by porkyman on Nov 8, 2019 21:01:40 GMT -6
I think David Glenn does/did something like this where you mix your song together via web conference. I’ve never tried it and don’t know if he still does it but I thought his YouTube videos were some of the best around. It’s not a tutorial. You would hire him to mix your song and you would mix it together. He would basically teach you how to mix your own songs. I was just saying going by his YouTube videos he seems really good at what he does.
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Post by porkyman on Nov 8, 2019 20:36:08 GMT -6
I think David Glenn does/did something like this where you mix your song together via web conference. I’ve never tried it and don’t know if he still does it but I thought his YouTube videos were some of the best around.
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Post by porkyman on Sept 28, 2019 16:31:21 GMT -6
No. Even if I did I wouldn’t know what to make of it. I don’t think it matters anymore. The burls have the same chips as the old digi 192 and ppl sell their kidneys for them. I’ve had/have the Avid’s, motu, Ross Martin, burls. The burls are the only ones that make a difference and that’s bc of the transformers not the chips. They all sound a little different of course but not better or worse. I don’t think I will even notice a difference when mixing hybrid. Anyways. Should be here by Wednesday. Gonna take a minute to patch it up but should have an idea about it sometime next week. I’ll let you guys know. Any updates? thanks! Sorry. Lovin it so far. No problems at all. Sounds great. I also switched to studio one. Lovin it even more. If you’re running hybrid I highly suggest looking in to pipeline in S1. It is so vastly superior to PT. I can’t imagine doing it any other way at this point. I’ve completely eliminated all aspects of Avid from my life and I couldn’t be happier. I think i even made a little money on the switch.
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Post by porkyman on Jun 29, 2019 18:28:14 GMT -6
It’s just a good idea to turn the transformer,but do it unplugged and wait a bit ! I think you’re supposed to turn it while listening to hear when the buzz disappears. I had to do this with my SA3A. It was creepy af. That toroid is big and doesn’t look like it wants to be touched. I just got two stams. Haven’t tested them yet but I really hope I don’t have to do it again.
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Post by porkyman on Jun 17, 2019 13:33:50 GMT -6
No. Even if I did I wouldn’t know what to make of it. I don’t think it matters anymore. The burls have the same chips as the old digi 192 and ppl sell their kidneys for them. I’ve had/have the Avid’s, motu, Ross Martin, burls. The burls are the only ones that make a difference and that’s bc of the transformers not the chips. They all sound a little different of course but not better or worse. I don’t think I will even notice a difference when mixing hybrid.
Anyways. Should be here by Wednesday. Gonna take a minute to patch it up but should have an idea about it sometime next week. I’ll let you guys know.
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Post by porkyman on Jun 16, 2019 19:57:00 GMT -6
I’ve got 2 setups. Avid hd and motu 16a. Avid is solid. the Motu isn’t stable on my pc and I hate the routing matrix. I can’t really tell a difference in conversion. I don’t think there’s a big enough difference in any modern converters to worry about.
Can still sell the faderport and S1. Makes it that much cheaper. I’m not sure if I’ll want to keep them either but I’m curious to try em.
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Post by porkyman on Jun 14, 2019 12:27:10 GMT -6
Just bought one. Comes with a free faderport and studio one pro. As long as it’s stable seems like a no brainer. I’ll update if I have any issues.
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Post by porkyman on May 30, 2019 16:36:14 GMT -6
I thought the first by a lot listening through iPhone. It just fits the mix right. 2nd one sounded weird.
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Post by porkyman on May 10, 2019 0:04:41 GMT -6
Do these kits come with everything needed? Seems crazy cheap.
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Post by porkyman on May 6, 2019 19:13:04 GMT -6
Had a plugger friend that had an in with Keith Urban...has his number and Keith has told him to shoot him a song when he felt really good about it. My friend freaked out over this song and sent it to him...got “cool song, but pass” back. He’s about the only country guy that could pull this off. Not surprising considering he only makes shitty music. I think Blake Shelton could pull it off. It’s got that crossover sound and similar vibe as “Sangria” where the only thing that really makes it country is the accent. I hear it more as RnB but that’s just a matter of taste. I think its chart topping quality either way. It really is that good.
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Post by porkyman on May 3, 2019 10:38:46 GMT -6
If anyone plans on returning theirs please sell it to me instead. Thanks
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Post by porkyman on May 3, 2019 10:36:54 GMT -6
Original sounds RnB sonar sounds modern country. I prefer the original. More energy. Especially in the low end. True it’s “muddier” but also fuller.
Asterisk: I don’t like the sound of modern country.
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Post by porkyman on Apr 12, 2019 17:13:09 GMT -6
That rev A sounds incredible.
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