Original Message 1/60                 Date: 11-Oct-04  @  10:21 AM   -   the final stage

Dominic

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I'm having difficulty understanding something. If I am choosing to have my drum sample VST samples to be 32 bit on load and am bouncing down my soft synths to WAV's at 24 bit, then do I choose to record (on my CDR 2 track) at 16 bit or 24 bit and can people I send a 24 bit CDR to, play it on a standard system. Sorry if this is a crap, basic question.

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Message 2/60                 Date: 12-Oct-04  @  01:52 AM   -   RE: the final stage

damballah

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Standard CDs are 44.1k 16 bit stereo.

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Message 3/60                 Date: 12-Oct-04  @  05:37 AM   -   RE: the final stage

psylichon

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yes, if it is to be a "red book" audio cd that can be played on a standalone player (i.e. in your car) then it must be converted to 16/44.1 first. If you want to deliver 24-bit files or any higher sampling rate, you must burn a data CD that can only be read on a computer.

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Message 4/60                 Date: 12-Oct-04  @  03:07 PM   -   RE: the final stage

Dominic

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Thank you. So do mastering houses prefer 16 bit CDR or 24 bit CDR or DAT to master from. I hear that CDR's accent the higher freqencies too much.

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Message 5/60                 Date: 12-Oct-04  @  04:08 PM   -   RE: the final stage

milan

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you gotta be kidding! CDR is the sound of now man ;)

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Message 6/60                 Date: 12-Oct-04  @  04:19 PM   -   RE: the final stage

Dominic

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So I take it that a 16bit CDR is OK to send off for mastering then?

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Message 7/60                 Date: 12-Oct-04  @  04:43 PM     Edit: 12-Oct-04  |  04:45 PM   -   RE: the final stage

milan

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yes, although in a pro studio they would still use a DAT or at least a good standalone cd-burner. but for the rest of us it should be ok i believe...

[edit]

but... if your mixes are in 24bit, then you could theoreticaly send them a wav file in 24bit and leave the conversion to them, since they would (theoreticaly) have better tools to deal with it.

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Message 8/60                 Date: 12-Oct-04  @  05:46 PM   -   RE: the final stage

Dominic

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Thanks. Any idea what's a quality CD burner. I heard that hhb are the best because they are pioneer and use quality components.

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Message 9/60                 Date: 12-Oct-04  @  06:47 PM   -   RE: the final stage

milan

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better wait for psy to answer that i think... my studio had a DAT  

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Message 10/60                 Date: 12-Oct-04  @  09:11 PM   -   RE: the final stage

k

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i use a pioneer 106 - very 'industry favourite' burns cd and dvd (will of course also burn large ISO UDF DVD-ROM for 4.5 ish gigabytes of backup (VERY useful for archiving whole song folders complete with audio)

you can get the 'oem' version quit affordably without a box at pc fairs

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 11/60                 Date: 12-Oct-04  @  09:40 PM   -   RE: the final stage

psylichon

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DATs are dead, 16-bit is dead... at least in the pro studio world. Most mastering houses want the highest bitrate and sample rate you can give them, which usually means delivery on data CD or DVD. We want all the dynamic range you can offer us so we can eliminate as much as possible.

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Message 12/60                 Date: 12-Oct-04  @  09:43 PM     Edit: 12-Oct-04  |  09:45 PM   -   RE: the final stage

psylichon

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at our studio, even if a project comes in as a 16/44.1 session, if it is to be mixed analog, we mixdown to a Masterlink at 24/96, then blow that back into Pro-Tools for mastering. The last plugin in the mastering chain is a 16-bit dither, and we cut right into the 24/96k pro-tools session. The dither plugin results in a 16-bit master with an 8-bit pad of zeros that gets trunctated on export (remember it's already been dithered). The sample rate conversion also happens upon export.

If you're working all in the computer (with virtual synths and such), most DAWs use a 32-bit floating engine. If you're bouncing down "inside the box" you want to retain as much of that dynamic resolution as possible, so bounce to 24-bit at whatever sample rate your project is. That will yield better results than going out analog or digital to a 16-bit CD burner.

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Message 13/60                 Date: 13-Oct-04  @  12:38 PM   -   RE: the final stage

Dominic

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Thanks gents. Let me just get this all clear in my mind:-

1. DATs are dead.

2. 16 bits are dead but I should record at 16 bits on a standalone CDR burner if I want to be able to send a CDR to my DJ mate for him to play out in a club before I send anything of to be mastered.

3. One should not record a CDR at 24 bits because not everyone would be able to play it on the club CD player/deck.

4. But I should record my master at 24 bit for the mastering house.

5. A pioneer 106 will be an excellent choice for me to record my final mixes too (straight out of the main mix of my mackie desk) for both 16 bit and 24 bit.

6. I should make my drum VST load drum samples at "32bit on load" and I should bounce down my soft synths to 24 bit WAV's.

Thanks guys. Its taken me 4 years of blood,sweat and tears to get a track to the stage when I'm finally ready to record it and send it off to the labels.

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Message 14/60                 Date: 13-Oct-04  @  12:42 PM   -   RE: the final stage

Dominic

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Or maybe a masterlink would be better for me to record 24 bit mixes too!?!

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Message 15/60                 Date: 13-Oct-04  @  01:40 PM     Edit: 13-Oct-04  |  01:42 PM   -   RE: the final stage

SignalRunners - BLU

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^^^

Audio cd for 16bit-

data cd for 24 bit-

id still record the master at 24bit, but make a 16 bit audio cd off that version, ( using a dither plug if i was feeling saucy)

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Message 16/60                 Date: 13-Oct-04  @  03:12 PM   -   RE: the final stage

Dominic

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Thanks Blu.

Psy - will a masterlink convert a 24 bit recording to a 16 bit CDR internally?

And how do you rate the A/D convertors? Turnkey are selling the masterlink for £519 and I'm wondering if I should go for this as the last link in my chain or something else.

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Message 17/60                 Date: 14-Oct-04  @  06:44 AM   -   RE: the final stage

psylichon

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Dom, what are mixing down from? If it's a computer, you got yer 24-bit recorder right there... just bounce down internally at 24-bit resolution or feed an analog mix back into two stereo channels and record them right into your project.

This is a rather complicated issue, but some simple searches on Google will bring up all sorts of methods for getting your master at whatever resolution/format you need. I would advise reading up on it some more before diving into a purchase on a mixdown deck.

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Message 18/60                 Date: 14-Oct-04  @  09:51 AM   -   RE: the final stage

Dominic

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Cheer Psy. This is exactly my problem though psy. I have been trying to mix straight back into Logic Plat but after my tracks go through all the compression stages and through the multi compressor via the desk main inserts, the signal is just too hot for Logic to handle. However, when I record the same signal into my Tascam DAT machine, the signal seems OK and I have the analogue input pot at nearly exactly the same place as when I used to be an assistant in studio's 3 years ago and we used to put down the final mix on their dat players so I am presuuming that the siganl coming from my desk (finished mix) is the right level because I am comparing the DAT imput knobs to a pro studio dat machine. ( I hope that all made sense) Also I was thinking that the masterlink would have far superior A/D convertors and the ability to dither down from 24 bits to 16 bits much better than the Logic Plat native dither plugin. I'm really not diving in and rushing to make a purchase as I'd have to offload some old studio gear first like my MPC to be able to buy it.

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Message 19/60                 Date: 14-Oct-04  @  04:56 PM   -   RE: the final stage

psylichon

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I think you just have a nominal operating level mismatch. Most likely, your desk is outputting +4dB balanced signal and your soundcard inputs are -10dB unbalanced. A simple convertor box is all you would need, or perhaps an upgrade on your soundcard if you really wanna spend some money? ;)

If you don't mind telling us, what is your entire mastering chain. Knowing that, I could advise you better.

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Message 20/60                 Date: 14-Oct-04  @  06:50 PM   -   RE: the final stage

milan

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^^^ i second psy re. gain mismatch.

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Message 21/60                 Date: 14-Oct-04  @  08:08 PM   -   RE: the final stage

Influx

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yup. check the gain structure.

BUT...if you DO choose to get an outboard recorder, the masterlink is a damn fine option

record to disk at 24bit, then burn a red book CD (standard audio, should play anywhere) AND burn a 24bit master backup (a copy of which can be sent to master) AND still have a copy on your HD (the masterlink will take up to a 40g drive, but only utilizes 32). You can do playlists with it, etc. Its a solid unit no doubt

but...your statements bring up another question...if youre doing all this gnarly compression, including a multiband on the main buss...well...the mastering thing is gonna be a waste of money possibly, as odds are youve already squashed the shit so bad no one can do anything with it.

If youre gonna send something off to a real premaster engineer, ya otta lay off the main buss comp unless youre only hittin it just a little

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Message 22/60                 Date: 14-Oct-04  @  11:51 PM   -   RE: the final stage

SignalRunners - BLU

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' If youre gonna send something off to a real premaster engineer, ya otta lay off the main buss comp unless youre only hittin it just a little '


yeah dom, we were discussing this in another thread innit? Always good advice from ^^^ these guys, they know whats going on

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Message 23/60                 Date: 15-Oct-04  @  09:24 AM   -   RE: the final stage

Dominic

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A focusrite Mixmaster over the main inserts of a Mackie desk using a Y cable Jack to XLR plugged into the -10db inputs of the focusrite. My PC runs delta 410 soundcards.

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Message 24/60                 Date: 15-Oct-04  @  10:05 AM   -   RE: the final stage

psylichon

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Honestly, if you're getting into any kind of mix compression, you should probably run a "self-masetered" version for yourself, then run a mix without any buss FX on the master out... that way you cover your ass down the road when a mastering engineer complains your mix is too squashed. Can never have enough versions of a mix...

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Message 25/60                 Date: 15-Oct-04  @  11:50 AM   -   RE: the final stage

Dominic

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S'true. I've found that there are much better dynamics in my tracks if I just kiss the mix with 3db of compression cross th elo, mid and hi freq. It aslo makes it pump a bit which is a sound I like. Its hard to stay off the eq section on the mixmaster though as a 1.5 db increase in the 120hz, 5-7khz and 12k helps sooo much. I saw an engineer master a mix in the studio once through a blue focusrite and he eq'd 120hz, 7khz and 12khz so there the kinda guidlines I'm using.

Thanks for all the advise guys -its really helping.

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Message 26/60                 Date: 16-Oct-04  @  04:51 AM     Edit: 16-Oct-04  |  07:21 AM   -   RE: the final stage

psylichon

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"It aslo makes it pump a bit which is a sound I like."

Then you're using it for exactly the right reason in a mix context...as long as it's for a "sound." Just be wary that it doesn't sound better to you just because it's louder. A difference of much less than 1 dB can make something sound much better, no matter how much you think you're compensating with your head. Often times when i'm mastering, I'll stick something on that initially sounds great... bass is enhanced and everything is clearer. Then I run an analog-domain, level-matched A/B switch between the original and the mastering chain. When you match apparent levels (not peak) and compare apples to apples, you see thast compressors can often really diminish your low end, high end... pretty much any end if used improperly. But the end result of improper use is, yes, it may be louder, but it doesn't really sound as good. There are ways to get average level up without percievable dynamic distortion or changes in the frequency spectrum.

Not to harp on you, it's just something I've found out lately myself that's really helped my consistency in the studio. Nothing is more depressing than doing all this work getting a track's level up... and all along yer thinking it sounds great. Then you compare it to the unmastered version with a little turn of the volume knob in between, and you realize that you killed it. Always give a proper A/B. Find a way to make it easy.... i got it down to a keystroke in PT  

And that's basically the "holy grail" of mastering. Not fucking up what the mix engineer did. It's not easy, given the levels clients are expecting their masters to be at nowadays. At the end of the day, given good mixes (which i'm usually given from my boss... he's good), my job is simply to get them louder and to match them in level and spectrum. But more importantly my job is to fuck them up as little as possible.


But yeah, use that compressor if it truly makes it sound better.

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Message 27/60                 Date: 18-Oct-04  @  09:51 PM   -   RE: the final stage

Pongoid

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While the advice psyl has given is pretty well on, I would not say that DAT is dead at all. I'm not trying to wallow in the past, but it's important to remind ourselves the yesterday's technology is still functional today. While many high tech studios use at least 24/96 if not 32/192, especially for cinematic releases, even 8-bit and 12-bit have their uses. You use what you've got and do the best you can. Too many folks get hung up on the medium instead of the message. Get the best you can and use it the best you can. Record in the highest resolution possible, and if that's on a DAT then so fucking be it. A professional studio is either going to have the tools to handle your custom or rent them, if needs be. They don't like to encourage it, and some will be hard-asses, but at the end of the day, it's a job, and a pro studio is in business to make money performing its service for others. Money talks and bullshit walks.


Ape

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Message 28/60                 Date: 18-Oct-04  @  11:02 PM   -   RE: the final stage

Influx

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Pongoid...while thats true...theres no real reason to search out a DAT machine. It doesnt offer any unique sound really, and while SOME studios might have one, ALL have either a CD player or a computer. If they dont, theyre quite behind the times, and might be lacking in other areas as well, no?

a 24bit data CD is gonna be the most likely candidate for universal medium right now wouldnt you agree?

also...if one has a decently spec'd PC, then one can simply record 2track back into it. No need for an external recorder?

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Message 29/60                 Date: 19-Oct-04  @  05:09 AM   -   RE: the final stage

Pongoid

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Sure, I concur for the "modern American" studio they will be so equipped, but what about when somebody takes a live mix, right off the board? Or somebody that does a lot of field recordings and works exclusively on hardware uses what they have? There are a lot of folks out there still doing just that, and making perfectly legitimate, highly musical creations. Behind the times is a relative term, bro. Not everyone runs on the same clock, or is about the newest being necessarily the best. I know a lot of folks using some backwater shit for doing their things, but they are still making good stuff. Personally I'm going to start recording stuff on a 2" Studer, shortly. You gonna call that behind the times too? I'm sure we'll dump it to DVD at the end, if not a 1/4" half-track, but not everyone uses the same tools or has access to them. Not everyone lives in a high-tech metropolitan area, or records there. You use what you can get your hands on easiest or already have that still works. If that's only 16-bit, or even analog, so be it. A properly equipped studio should be prepared for all of it.

Ape

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Message 30/60                 Date: 19-Oct-04  @  07:15 AM   -   RE: the final stage

Influx

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youre creating a situation that this guy isnt in, tho 

the field recording thing is the most relative argument, for sure...there arent portable CD recorders yet, are there?

but there are portable DATS, portable HD recorders (quite expensive still)

anyway...I wasnt dismissing things that werent as technologically advanced as inferior. I dont think anyone was, actually!

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Message 31/60                 Date: 19-Oct-04  @  07:54 AM   -   RE: the final stage

psylichon

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hey, I still keep my PCM-M1 around just in case I want to sample a hi-fi fart in stereo sometime, and our studio keeps some dusty old Tascams around to roll in the occasional archive that comes in, but the subject at hand is mixdown medium. I do not consider DAT a viable option any more.

But it will live on. people cut to VHS still. hehe, i said "cut"

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Message 32/60                 Date: 19-Oct-04  @  04:03 PM   -   RE: the final stage

Dominic

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Yea, I wanna use a decent 24 bit cd recorder to:-

1. Master in 24 bit
2. Record through decent a/d converters
3. Use a medium that I can send out straight to DJ's
4. Use a bit of kit that can take the same sorts of levels as my DAT machine.

When I try and record straight into one of my delta 410's, I have to have the master fader right down by -25 db to not overload the PC. I've tried using the -10db and the +4 db inputs on my mixmaster but this makes no difference to the input levels. As previously said I get a mush better signal when I use the +4db XLR inputs on my mixmaster compared to the -10db inputs (which I believe to be for consumer gear like keyboards or dat machines) and know that my main metres levels are good cos the input knob on the DAT machine is in the same place it used to be when I used to record from a neve vr legend (with flying faders - heheheheh) in a pro studio. So I'm thinking that the alesis masterlink will be able to handle the "proper" signal from the mackie desk and I won't have to pull my master fader (that is post main sub inserts if anyone's wondering) all the way down to -25 db. I can't find an "input level" option in the audio menus of Logic and the control panels of my 410 deltas only deal with outputs, ie -10db consumer or full. I'm kinda thinking that my gain structure is cool cos of the same DAT machine being in the pro studio and the input knob is exactly in the same place for a decent level that peaks at 0db. Phew!

Am I missing something vital here fellas?

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Message 33/60                 Date: 19-Oct-04  @  07:45 PM   -   RE: the final stage

Influx

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cant tell without bein there in person, but something is clearly wrong as you shouldnt have to do that.

0dBfs is theoretically the same across the board. I think there are fluctuations, but not 25dB.

so...if you can sort it out, its gonna be more economical to use your PC. Where are you? Im thinkin england, in which case I cant help you.

I do, however, wonder if it has to do with what youre strapping across the main buss. maybe youre simply cranking that too high, and the outputs of your mackie are actually distorting? Im sure youre watching the meters on the mackie?

anyway...the masterlink is a damn fine piece of equipment. Dont know if the converters are anything but better than average. The only experience I have with one was using an Apogee PSX100 and then digital out from that, so...

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Message 34/60                 Date: 19-Oct-04  @  09:36 PM   -   RE: the final stage

milan

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Drop, you nutter...

look... a Neve VR will have output of about +26dbU or something, so no wonder you have to pull the fader to -25db while recording to a lowly Midiman Delta card. can that be it??

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Message 35/60                 Date: 20-Oct-04  @  12:26 AM   -   RE: the final stage

Influx

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dominic is "drop?"

and...whats a Neve got to do with it

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Message 36/60                 Date: 20-Oct-04  @  04:49 AM   -   RE: the final stage

psylichon

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I still don't fully understand your mastering chain or production style, but I think there is a misunderstanding here about CD burning and 24-bit.

A 24-bit CD burner (like the masterlink) burns data disks that can only be read by another masterlink or a computer. An audio CD is always 16bit/44.1khz. Also 24-bit recording does not indicate a higher input level capacity. This may be obvious, but from the way you were goin there I thought I'd make that clear.

I am of the opinion that if your productions originate and are mixed in a computer, they should be mastered there for highest fidelity. Your analog stage sounds a bit unnecessary to me.

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Message 37/60                 Date: 20-Oct-04  @  10:34 AM   -   RE: the final stage

Dominic

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No, Perhaps I haven't made myself clear. I don't mix inside the computer. I mix through 3 delrta 410 soundacrds running down a mackie 32:8:8.

The kick and bass

They each go through a compunder via the channel insert via jack to jack plummed into the +4db inputs.

The snare and the rest of the drums

They get eq'ed and sent to a sub group which in turn goes through a compunder at +4db inputs.

Soft synths

These get compressed with Logics native compressors and then all sent, via another sub group, to a compunder with +4db inputs.

The whole mix

The whole mix gets 3db of compression and eq'ed at 120hz, 5-7khz and 12khz around +3db on the eq section through a mixmaster using the main sub inserts and the +4db inputs.


Plus the makie manual says that there is +25 db output aswell so I'm confused. My question is why does my DAT machine accept a nice hot input level but my delta 410 doesn't. The mackie manual says that there is loads of headroom on this desk and to make sure that the main metres only flick into the yellow occasionally (which I am making sure of). What the hell am I doing wrong here?

Surely I can't be mixing with my channel faders all at -10. Everything is set at unity gain on my mackie including the channels, the gain pots are completely anti clockwise and the master fader is at 0db. Where am I going wrong here?

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Message 38/60                 Date: 20-Oct-04  @  07:45 PM   -   RE: the final stage

Influx

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so you do all the level adjusting in the PC then?

honestly, to me..it sounds like youre overcompressing shit, but that might not be the source of this problem...

I cant for the life of me figure out what exactly that problem is though. If youre doing the levels in the PC, and leaving the gain on the mixer with no boost, and the channels at unity...

jeez. confusing

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Message 39/60                 Date: 21-Oct-04  @  03:43 PM   -   RE: the final stage

Dominic

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Yer, not mixing in the PC. Pure mackie desk mixing Influx. Usually I can think and sort out the studio problems but this ones got me flumuxed.

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Message 40/60                 Date: 21-Oct-04  @  05:47 PM   -   RE: the final stage

k

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what happens using a test tone plumbed into the mixer rather than programme material ?

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 41/60                 Date: 21-Oct-04  @  06:53 PM   -   RE: the final stage

Influx

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"Yer, not mixing in the PC. Pure mackie desk mixing Influx. Usually I can think and sort out the studio problems but this ones got me flumuxed"

If youre doing all the settings on the mixer, why in the world would you leave everything at unity?

Id think you would have to be pulling some faders down, including the main buss

I honestly think youre just overcomplicating all this...too much compression (gain boost most likely) and then just goin in too hot

altho 25dB is a lot!

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Message 42/60                 Date: 21-Oct-04  @  08:18 PM   -   RE: the final stage

k

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dom mate - i read the thread and cant see the whole picture... can you tell/show the chain and routing and what have you? - you are using a mixer you say?... what make/model - you are using logic too?... what's the setup?, how is logic routed to mixer?, how is mixer routed to what?...

there's not a clear explanation here, the discussion hops around between points but never paints the whole picture

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 43/60                 Date: 22-Oct-04  @  03:30 PM   -   RE: the final stage

Dominic

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Thanks K but I reckon I've explained it. I'm not going to write it all out again bruv. Its cool, I'm going to hire a masterlink for the weeken via studio spares and test my theories out over the weekend. WIll report back on Monday. Cos I'm sound like that.

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Message 44/60                 Date: 22-Oct-04  @  04:02 PM   -   RE: the final stage

psylichon

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What physical outputs of the Mackie are you connecting to the 410? Cause the only inputs on that card are RCA unbalanced, and the only outputs on the mackie that are RCA unbalanced are, i think, the tape outputs. Those should work for you if you feed your main mix to the tape outs. If you're using any other output with some sort of adapter cable, you're feeding +4 balanced into -10 unbalanced and it's gonna distort.

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Message 45/60                 Date: 22-Oct-04  @  04:21 PM   -   RE: the final stage

Dominic

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Psy you nutter, I think you might have cracked it!!!!!

Just been reading the Mackie manual (again) and they talk about the difference between using unbalanced and balanced outputs!!!! I was using the jack main mix outputs to feed the 410. So, you're saying for me to use the tape outs (which actually have a +4db/-10db switch) to feed the mix back into the 410? I think you might be right bruv.!!!! Will report back Monday. Thank you.

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Message 46/60                 Date: 22-Oct-04  @  04:23 PM   -   RE: the final stage

psylichon

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hehe, only said that on page 2 bro...

hope it works out for ya

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Message 47/60                 Date: 22-Oct-04  @  05:37 PM   -   RE: the final stage

milan

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and on which page did i say that he's a nutter???

and on which were we all shouting GAIN MISMATCH untill blue in the face???

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Message 48/60                 Date: 22-Oct-04  @  07:21 PM   -   RE: the final stage

Influx

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hell I think I even said it once or twice 

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Message 49/60                 Date: 26-Oct-04  @  05:20 PM   -   RE: the final stage

Dominic

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Right then, the masterlink! We'll you were all correct. (But you all already knew this). The masterlink took the level from the desk with no problems. Thank you all.

However:-

I'm selling my whole studio and buying a laptop with FL studio as the host and reason 2.5 as the client. Plus T-Racks. Why the hell did I pursue this bloody hardware route for sooo long! Probably because I'm stubborn.

Dominic - "there is no way that Reason sounds good. It sounds like shit. It sounds like a toy!"

16 year old garage producer - "have you heard Reason after its been through T-Rack and through a decent soundcard though?"

Dominic - "no"

16 year old garage producer - "here you go. This is something I did in 2 days in Reason"

Dominic - "wow. That's pretty good bruv, did you get it mastered"

16 year old garage producer - "nah. Just bunged it through T-Racks. And used a preset"

Dominic - (cough) "I'm sold"


Oh well, I'm only 3 years late then!!!!!

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Message 50/60                 Date: 26-Oct-04  @  05:40 PM   -   RE: the final stage

k

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lol

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 51/60                 Date: 26-Oct-04  @  05:43 PM   -   RE: the final stage

k

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My favourite is the FM preset in wavelab 4 - an easy fix for non critical stuff and good for web versions to get them nice and hot

just be careful your bassend isnt overdone prior to import.

 

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 52/60                 Date: 26-Oct-04  @  09:52 PM   -   RE: the final stage

Influx

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just keep in mind that the 16yr old garage kid LEARNED on that stuff, and most likely has NO knowledge of a hardware setup. He wouldnt have to "unlearn" anything and re-learn a new environment

something to consider before you sell all your hardware. it definitely sounds better in most situations, but...its a different environment and might not be conducive for you personally.

also...I dunno if Id recommend just reason and FL really...but try it out and see!

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Message 53/60                 Date: 27-Oct-04  @  02:13 AM   -   RE: the final stage

SignalRunners - BLU

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it took one conversation to make u decide to switch , just like that, are you high?!

maybe the young guy had TALENT no?

Ive heard jaw dropping shit from both completely hardware , AND completely Softaware driven tracks, and everything inbetween, combinations, the lot.

A preset in T-racks aint gonna turn shit into gold m8

Ive heard tracks straight off the reason sequencer before that have made me almost faint - but cos the guys had talent, not cos reason is so good!

Seriously, step back and have a quick assesment here m8 - if you cant make shit bang before the mastering stage, forget about T-racks, youll do more harm than good - dead serious

blu

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Message 54/60                 Date: 27-Oct-04  @  10:07 AM   -   RE: the final stage

Dominic

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Blu - another "sound" post by yourself bruv. Ya getting a bit of a reputation on DT aren't you!?!

Of course I know its about talent! That's glaringly obvious. Hell, Dizzee Rascal made a mercury prize winning album on a cheap PC and a sampler. Its not the tools, its the workman. Yer, this is all very obvious to me.

I just want to put everything into a laptop because its easier. Hell, talent wise I'm a strong 6 out of 10. I'm never going to make a living out of making music but I just love doing it. It beats sitting in front of the tele every night. Plus I don't really get to be creative in my day job so…….

And……

I fancy a bit of a change. I think I've become stuck in a rut a bit and fancy a new environment to work in. Oh yea, plus I'm moving into a smaller flat and I fancy everything on my laptop through a nice pair of Genelec monitors. Not sure if I'm going to be able to afford a flat big enough to house all my hardware.

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Message 55/60                 Date: 27-Oct-04  @  10:53 AM   -   RE: the final stage

k

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like THAT means anything - lol -

only joking - it's the video I like - brilliant because it is SO BRITISH... 100% British vibe rather than all that Yank copying crap.



Dom man - "I'm never going to make a living out of making music but I just love doing it."

be positive man, you never know

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws.... I call it... Big Jaws!!!

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Message 56/60                 Date: 27-Oct-04  @  02:47 PM   -   RE: the final stage

nutoniom

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integrate don't segregate

besides, at some point you'll regret selling your synths

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Message 57/60                 Date: 27-Oct-04  @  03:18 PM   -   RE: the final stage

Dominic

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What hardware synths? FL runs VSTi's.

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Message 58/60                 Date: 27-Oct-04  @  07:18 PM   -   RE: the final stage

nutoniom

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well, if you don't have any hardware synths, what are you downsizing from ?

*scratches head*

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Message 59/60                 Date: 28-Oct-04  @  09:22 AM   -   RE: the final stage

Dominic

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A pointless 32 channel desk and lots of outboard like compressors and verbs, distortion pedals, etc, etc. Has your itch gone now?

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Message 60/60                 Date: 29-Oct-04  @  05:20 PM   -   RE: the final stage

milan

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oh btw... Dizzee had a producer who has a full on studio with pt and shit... not like they used it, judging by the sound of it  

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