Gearslutz.com

Help hooking up moniters and sub to interface

bluedream303 — Sat, 18 May 2013 05:52:12 GMT

Hello! well im new to this whole production thing but im trying to piece together my studio and i just got a pair of yamaha hs50s and a krk 10s sub.. now for the interface i got a tascam us-200 and since im new and never hooked up monitors and subs to interfaces in my life im confused as hell lol :facepalm: so if anyone can tell me what wires i need and how to hook them up? i would greatly appreciate it and love you for the rest of my life kfhkh

Want input: Modern digital synthesizers

Polar- — Sat, 18 May 2013 05:45:06 GMT

I'm thinking of aquiring a modern digital synth to supplement my semi-vintage setup: V-synth GT v2, Jupiter 80, Virus or *other suggestion here*? I'm currently running mostly vintage synths pre-1990 in my studio + vsts, and there's still lots of customers that enjoys modern hardware. I haven't tried much of the new stuff; i've tried a Kronos which i didn't like at all.

Synth setup as of now:
Prophet 08
JX-10
D-50
DX7 IID
Voyager
Polysix
VL-1
Triton
Little Phatty II
Roland FP-7
+ VST (Omnisphere, NI stuff etc)

Suggestions appreciated!

Google and Trichordist to debate piracy profits in London | Music Week

GearAndGuitars — Sat, 18 May 2013 05:38:01 GMT

Quote:

Google and Trichordist to debate piracy profits in London | Music Week

The event, hosted by MusicTank, takes place on May 28

Quote:

“Taking place at the University of Westminster and hosted by Sam Shemtob, conversation will focus on how peer-to-peer sharing sites are dependent on advertising for income, the role of search engines and other businesses in controlling online advertising, and the impact to both legitimate services and creators.

In 2013, it seems somewhat amazing that advertising from major corporations is still being served to unlicensed music services - especially when, in theory, creative and tech businesses could pragmatically and constructively tackle the practice.

“MusicTank is delighted to announce such expert speakers as David and Theo to discuss this contentious issue and we look forward to a constructive and informative debate.”

Could anyone convert 5 .ptx to .ptf for me? Needed soon!

wjt2006 — Sat, 18 May 2013 05:22:08 GMT

I have been sent 5 Pro Tools 10 sessions that I must complete work on by tomorrow evening. I have no way of converting these files myself, and the artist has been unable to get in touch with the previous engineer. I'm very pressed for time, so I'm desperately in need of help.

I need these files converted by 3AM! I'm really in a bind!

I can pay you $20 for 10 minutes of super easy work! It's only a 1.94MB download.
(I apologize if trying to hire someone from the forum is against board rules)

If you can send me just one converted file, I'll go ahead and pay you the full $20 just to prove I'm not ripping you off.

https://www.dropbox.com/s/4ecnxm6ioj...tx%20files.zip

If anyone can help, please let me know ASAP!

Miktek MPA-201-anyone using one?

skeeter — Sat, 18 May 2013 05:15:20 GMT

Does anyone have any experience with this preamp. I have most of their mike line and love them all and I'm curious about how they would sound with this preamp. Unfortunately, no place to try one out here so I'd love to hear from anybody that has actually used one. Thanks all!

Gear > Furman > ????

K. Osborne — Sat, 18 May 2013 05:02:07 GMT

Okay, so I just want to get something clarified.

Hypothetical situation, lots of racks of gear, compressors, preamps, blah blah, the usual suspects, all of them plugged into Furmans/Monster power conditioners. Typical studio, right?

Question one: for the cleanest, most stable power, best case scenario, cost is no object, what is the best way to get power to all of the Furmans?

Question two - what is "balanced power" and why is it so expensive? Audiophile marketing crap? Real deal?

I want to debunk some myths and debates I've been having with myself and fellow engineers. Technical responses are welcome.

Please describe “sweet-sounding” gear in terms of frequency content, harmonics...

STLHsinchu — Sat, 18 May 2013 04:40:47 GMT

I always wonder whether or not a common consensus could be found on how gear is described by different terms such as "sweet", "silky", "woolly", "muddy", “warm” etc.

In a previous thread I was advised to open up individual threads to gather responses for individual terms rather than to attempt to make a list and descriptions of all kinds of terms (http://www.gearslutz.com/board/so-mu...lky-sweet.html).

I wish to start with the term “sweet-sounding” gear which I found to be the most difficult to describe but also one of the most often used.

Please use frequency content, harmonics, harmonic distortion, spatial depth, THD etc. to describe "sweet-sounding". (Oh, and give me at least a *FEW* serious responses ;))

Thanks. Peace, Oliver

Got Logic 9 from a friend and East West "Gold"

ChristianAtkins — Sat, 18 May 2013 04:21:58 GMT

Please read all!! Two questions:

Is it totally illegal to use this software (Logic 9 and east west Gold) given its from another party that got it from ANOTHER party? I don't want to get this 27" Mac and totally be ousted by the Apple Corp. as a stealing bastard.

The guy who's giving it to me runs a refurbished Mac store and assures me its cool.

Anyone have any experience with this?

Question TWO:

If I got "East West Symphonic Orchestra Platinum Plus Complete" for 495.00, would this be a great investment for scores? I have a client lined up for two films and it would mean the world id I was able to deliver in order to get more work and quit my day job.

Yay? Nay?

Any and all help/ suggestions would be great on BOTH questions.

Help: how to get live monitor sound and recorded sound to match better

IJouk — Sat, 18 May 2013 04:17:08 GMT

I have been recording orchestral music with Millenia pre amps through Fireface 800 to Cubase on a MacBook Pro. When monitoring and mixing the live sound during recording through the Fireface mixer, the sound is awesome. However when I stop recording and replay the recorded tracks, mixing on Cubase and monitoring through Fireface monitor out, the sound changes significantly, with missing high frequencies, deeps and clarity. My question is, why is the live sound so different from the recorded sound? Is it a problem with resolution? (48/24). Or converter? (I use Fireface converters) Or Cubase engine sound? I'd like some help figuring out how to get the recorded sound to be as close as possible to the monitor sound to make mixing more efficient. Thanks for any suggestions or advice you might have! Igor

Sound proof Sheet metal ducts Help

Bladeboy05 — Sat, 18 May 2013 04:11:52 GMT

I've recently moved my studio to the basement. I've added Acoustic Foam to the early reflection points and got rid of a lot of flutter echo, but now I have one big issue! facing the direction of my speakers 8 feet to the left there is a water heater and the sheet metal furnace, also a sheet metal duct on the ceiling about 6 feet directly in front of my speakers. The problem is is that It's catching a lot of the low end bass which is causing a loud reverb on the low end. how can I fix this? Help is appreciated.kfhkh

Switching between Preamps

LeoRapture — Sat, 18 May 2013 03:36:57 GMT

When using only one microphone, how do you set it up so it can work with multiple preamps? I currently have the mic running directly into the preamp, and from the preamp to the mixer. Since I can only have one mic hooked up to one preamp, how can I switch between the preamps without pulling the racks out and switching the cables? Any easier way to do this?

Crisis: iMac wont start up.....logs attached! Help!

nyne — Sat, 18 May 2013 03:17:27 GMT

My iMac had been constantly freezing while starting up since last week.....after the chime it goes to the grey screen and then a grey screen with distorted lines and dots and the bottom part turns dark grey, sometimes blue.

Its a late 2009 27' 2.6 Quad i7, but it would boot fine in safe mode. Issue is that the DVD Rom doesn't work and airport/usb/fw would not appear in safe mode either.
So i decided to install a new hard drive with a fresh installation of 10.6.8 and then copy my data from the old drive and install all software from scratch.

Had a tech install the drive, he installed the OS through firewire from my MBP.
The iMac powered on just fine, i registered the name etc and then just to see that the freeze issue was gone, i restarted a few times. On the 5th restart i got the grey screen with the distorted graphics again. Tech decided to take out ram and install new ram. Same result. Then after he re-installed my old RAM, the system wouldnt start up at all and i would get the beep after 5 seconds. Just now i tried installing the Ram in different sockets and it powered on but again froze on the distorted screen. I safe booted and copied ALL MESSAGES and SYSTEM.LOG from console.

i cant read this stuff and the apple techs in my country are totally useless.
I would so appreciate if someone can tell me what errors, issues are causing this behavior.......

i shall attach the log files in a reply message below so it is easier to read.

This happned at the worst possible time. I had been contemplating selling this machine and buying a used mac pro. now i cant sell this before i fix it and i have lost the mac pro deal. I can afford a new mac but because they wont run Snow Leopard i dont feel confortable at all. I really need to squeeze a few months out of this machine. Would highly appreciate some help!

I have been so depressed and down because of this.......:facepalm:

Monitor proximity to harddrive

jon_nes — Sat, 18 May 2013 03:15:19 GMT

Hi guys,
I have two back up Glyph drives that live in my studio desk that are about 6 inches from my Tannoy's. Is it possible that they're damaging the data on those drives?
(picture attached)
Thanks!

Attached Thumbnails

Crisis: iMac wont start up.....logs attached! Help!

nyne — Sat, 18 May 2013 03:11:46 GMT

Pls recommend an ext. phantom power supply

Analok — Sat, 18 May 2013 02:58:12 GMT

Seeing as there are quite a few designs available, I wonder if I should concern myself with self-generated noise issues & such. Can anyone suggest external phantom power supplies that offer clean, high quality +48v at a reasonable price point? Or, are there dogs I should avoid at all points? All input greatly appreciated. TIA.

Avid or Sweetwater to purchase Pr Tools?

Mr. Kelly — Sat, 18 May 2013 02:53:12 GMT

Hi all,

I'm going to buy Pro Tools 10/11, and I've done some research into Avid's online store, and Sweetwater. What have your impressions been of each place's customer service?

Sweetwater has an easy call center, I believe for a year, whereas Avid has 10 calls in the first 60 days, and then an absurd amount for each call thereafter.

Any pros or cons?

I'd really like the peace of mind of knowing I can get help if I need it, although, I've never had to use it before, and I've run PT for 13 years. Mostly, I'd like a service portal because I'm jumping from 6.4 to 10/11, and going from XP to 7, and going from Digi 001 to likely a Focusrite Saffire Pro 40.

Also, Sweetwater only has the downloadable version of the build I need, whereas Avid has the boxed version (plus I-Lock 2). Any reason to prefer one or the other?

Any thoughts are appreciated!

Audio Output Issues on Peavey DPM 3

beetle — Sat, 18 May 2013 02:43:53 GMT

I bought a DPM 3 recently. When I got it home and plugged it in there was no sound output at all. I went to the peavey website and reset it back via instructions. Reloaded the disk for sounds all by the book. Any sound I choose for example: Organ; produces sound clear for a few seconds then goes severely distorted through any of the outputs ie... L/Mono, Right, and Headphone Output. Even when I let up on any of the keys and choose another sound or key it is still distorted. I have been trying to figure out what is causing the issue. I have tried multiple cords even a brand new one and a couple of different amps with clean settings. Please Help. Thank You :synth:

Koass kp3 with rane and turntable setup help

sakai — Sat, 18 May 2013 02:40:06 GMT

Hey guys, so i have a technics turntable set up with a rane ttm-56s. What i want to do is change the octave of the sound on the turntable with a expression pedal. I'm new to this so i want to make sure im setting it up right. what i plan to do is connect the koass kp3 to the rane through flexfx and have it set to the pitch effect and then use the expressional pedal to change the octave on the turntable. would this work?

im pretty much trying to do this but with an expression pedal. if there are any other ways to get this effect please let me know thanks.
Fretless Fader 2010 Update from JohnBeez - HD - YouTube

How do YOU back up your data?

IVIaverick52 — Sat, 18 May 2013 02:19:59 GMT

Looking for a little advice here. I'm getting ready to re-drive my studio PC. I currently have 4 western digital drives, dual boot operating systems on two seperate 250 GB Blue drives (1 OS for personal use, the other strictly for studio work) a 750 GB Blue drive for project files, and an old 80 GB caviar drive for personal stuff that's totally unrelated and unimportant.

My question is what you currently use for your backup systems (including drive types). I obviously plan to upgrade my OS/DAW disc to an SSD soon, but my main concern is always going to be safety of my data over slightly faster program launch times. I'm a PC repair tech in addition to doing audio so my experience really points me towards using WD black drives for the balance of reliability/performance (thinking 1 TB internal for project file use, and an additional black in an external enclosure for per project backups that would only be plugged in to perform backups, wouldn't run all the time). But then I've also heard that either the WD red drives or RE4's are even more reliable than blacks, at the sacrifice of performance (which would make it a good manual backup destination)

Of course RAID 1 or 10 arrays in both internal and external solutions would be desirable, but finances don't permit just yet (for the same reasons, I'm not considering Glyph drives)

So what do you think? what do you use? What would you advise? Thanks in advance.

Looking to hire Sax/Trumpet players regardless where you live

DJ Tricki — Sat, 18 May 2013 02:07:49 GMT

If you would please reply to this thread or send me a PM of your rates, that'd be greatly appreciated

Also perhaps a link to a music sample of you playing the sax/trump on a record, thanks!

VPR panel construction

Johnny Dance — Sat, 18 May 2013 02:03:44 GMT

Hi all...

I have been doing a lot of reading on VPR panels, and am impressed with the results.... couple of questions

1) Does anyone have any photos of the construction process? I am still finding it hard to find any

2) What are people doing in terms of framing them

3) does anyone in HK know of any suppliers of Basotect Foam?

Any help would be great!

PA System For Full Band/Office Use?

Stratosphear — Sat, 18 May 2013 01:42:10 GMT

Hey guys,

I've been charged with buying a PA so our startup can host awesome parties with bands! Finding a PA to power a live band is no problem, but we figure if it's possible to buy something that will also sound great at relatively low volumes for our everyday audio listening needs, then let's do that.

Is that a possibility? Is there a class of speakers that are loud enough for a full band but still will sound good fairly quiet? From what I've read using studio monitors for live bands is a bad idea. Anything else I should check out?

Budget is up in the air but I don't think we can swing any more than $2500.

Limiting

boobtron — Sat, 18 May 2013 01:21:44 GMT

Hey guys!

I run Logic 9 and was wondering a few things.

1. The first few tracks I record don't redline, but as I go the entire mix gets really loud, and I mix as I go. Is this normal, or am I supposed to go back and get all the signals under the peak levels FIRST even if the entire thing is NOT clipping, and THEN start mixing?

2. I normally use an LA2A on the master bus when I'm done. It makes the mix louder and evens everything out pretty well. EVERY time I try messing with the limiter (Logic Plugin) it makes my mixes quieter. What's the point of using the limiter? What am I missing here?

I keep hearing about how important limiting is, but it's the opposite for me. Could a limiter make my mixes sound better if I were doing this differently?

Virtual Consoles (like slate VCC) on Analog consoles?

smoovemode — Sat, 18 May 2013 01:14:12 GMT

Let's say you already have an analog board. Will a Virtual Console still carry the same weight as if you were using it with an ITB setup? I will be using mostly virtual instruments, but I will have an analog source here and there too.

PJ Harvey - 4 track demos (anyone heard?)

BenStein — Sat, 18 May 2013 01:12:14 GMT

Hi all. Have any of you heard PJ Harvey's 4 track demos? I read somewhere that she recorded these on a Yamaha MT1X, which means that they are cassette demos. This album is wicked awesome, and as demos for Rid of Me, it completely blows the Steve Albini produced Rid of Me out of the water.

My thing is....this is approximately the exact lo-fi production values I am wanting. Gritty and raw. I've always found the diy approach most appealing. The idea that this is being made in someone's bedroom or wherever is really exciting. But I find that other 4 track releases by other artists usually don't sound nearly as good PJ's. Anyone have any insight as to why that is? I just mean that they sound clear and achieve everything you would want to achieve with this kind of music(as evidenced that the Albini recordings are less interesting aside from the fact that they have drums).

Also, when recording on a 4 track, does recording less instruments make for the ones that are recorded to sound better? As they are less compressed on the tape or whatever? I'm don't know what I'm talking about sorry..... I want to record similarly to how her demos sound, but with drums(which she has on some tracks). Anyones interest would be awesome!

Expert/Professional Advice Needed

bradforderz — Sat, 18 May 2013 01:05:23 GMT

Hey, sorry, not entirely sure if this is the right place to put this or not...?

I'm relatively new to the whole sound/music industry and I've been studying at college for about a year and a half now. I have about another year to go till I graduate but I thought I should get some hands on, serious experience before then.

I decided the first step I should take was making an online portfolio and get some business cards for networking.

My question is: If I was to meet you and provide you with a business card and this website, what would be your thoughts about the possibility of hiring me, or taking me on as an intern/apprentice of some sort, based on the content of this page?
bradsoundengineer http://bradforderz.wix.com/bradsoundengineer

Thanks very much, hopefully I explained that okay.

Brad.

P.s. sorry about the awkward URL, it's still a bit of a working progress.

Prophet'08 goes vintage

Mefistophelees — Sat, 18 May 2013 00:37:44 GMT

I've recently been posting about how I've been playing around with the Prophet'08 and getting surprised at how "vintage" sounding it can be.

Modulating the DCOs with a low level of fast-ish LFO gives you a thicker, less precise sound.

The filter can go much deeper and richer than you'd expect but turning the cutoff right down - there are several controls that effect the cutoff.
Pour on resonance and add a bit of filter mod and you bring out a much bigger, richer sounding filter.

I knew both of these for a while but it's only recently that I put the two tricks together to create some surprisingly big sounds. Not at all like most of the sounds you usually expect from the Prophet'08.

It's not quite a big a sound as some of the vintage machines but it's not nearly as far as you think. Put on a bit of reverb and I doubt you'll be able to tell the difference.

Anyway, while I've been playing around I knocked up this track.
Drums are from tempest, everything else is Prophet'08. There are effects, but I mostly kept them light (mainly reverb on the lead sounds):

https://soundcloud.com/mefistophelees/the-scroll-prophet08

Mics and channels for piano and guitars

Jcc61 — Sat, 18 May 2013 00:18:57 GMT

Hi guys and girls,
Would greatly appreciate anybody's two cents. I want to start recording upright piano, acoustic guitars and my electric through a small valve amp. Nave no mics or pres at the minute. What would you guys recommend for about 5k (don't mind second hand). I like cool, coloured sounds. I don't mind spending more if its really worth it but 5k is preferable!
Thanks for any help.
Jonny

Buzz Audio QSP-20 4 ch mic pre users?

AB3 — Fri, 17 May 2013 23:50:53 GMT

This looks like a tremendous pre at a great price for 4 channels. Anyone tried it? Comments?
THANKS in advance.

Otari MTR 90 Cables

Rudstar — Fri, 17 May 2013 23:40:04 GMT

Hi.

I recently bought a Otari MTR 90, but i'm missing the 3 cables to the remote. The DB37 cable and the 50 pin amp connectors. Would a regular DB37 cable work? I've searched a little around and it seems it's possible to buy something that's have the same connectors on both cables. But does anyone now if this kind of cables would work?

CAT3 25-Pair Amphenol Telco Cable - 180 Degree 50-Pin RJ21 Male Connectors

how to make bass drum for a dance track?

dima_ds — Fri, 17 May 2013 23:39:18 GMT

Hey guys,

I make dance tracks what means they need powerful, punchy and deep bass drums. So I'm curious how to sculpt my own bass drums that gonna be pitch perfect and fitting the track right?

I've tried to make such thing:
1. take the drum which is not in the pitch with the track but fits well due to its shape and kill with EQ its basic frequency so I have the drum without the low end - that gonna be the shape of the kick
2. sculpt of a bass synth shape of the bass drum with the frequency I need - that gonna be the low tail of the kick
3. make a powerful click with enough low end in it - that gonna be transient of the kick.
Then match the 3 parts together.

The result was nice but it still is not so tight\powerful as kicks I hear in commercial tracks by Above&Beyond for example. How to make it sound powerful (but not distorting)?

Tests and Questions about MFIT Tools

Alécio Costa — Fri, 17 May 2013 23:39:18 GMT

Hi,

Concerning the Tools provided by the MFIT Bundle:

a) What is the difference between converting to AAC Plus with the MFIT droplet and doing it directly with itunes set at AAC Plus?

b) Sometimes I drag and drop a wave file to the floating window of the MFIT droplet and to the Audio to Wave droplet and it does nothing. BTW I am using OS 10.6.8. I have already reinstalled the package.

c) Using afclip: 0 means Left Channel, 1 means Right Channel and what is 2? Center?

d) Clips and ISPs: I was mastering today a specific pop rock song ( like U2 With or without you) with ceiling at -0.8. afclip provided me 0 clipping and 5 ISPS.

Is this something to worry, go back and readjust everything or should it be fine?

Thanks

Who has studio air conditioning using 'splits'? Opinions? Reco's?

shortstory — Fri, 17 May 2013 23:31:02 GMT

Hi guys- I'm thinking about reconfiguring my cooling situation (AC) in my control room and every air conditioning company wants to sell me a split system.

Thing is- it's my control room and I really don't want it to be so noisy that mixers complain (we are predominantly a mix room).

Do any of you guys have a split system and can comment on them? Or make recommendations on a quiet brand if there's such a thing.

Thanks-

Trim-only normalize

twoohfour — Fri, 17 May 2013 23:09:47 GMT

Hey all, been reading about batch processing files to get them at proper gain stage for mixing, and looking to see if anyone knows of a way to batch process audio to normalize, but never add gain.

Basically I have a bunch of sessions, some of which were recorded at great nominal levels for mixing (-18) and some are terrible (too hot) and weak (too quiet) ... I want to normalize them all without adding a bunch of gain to the tracks that are too quiet.

So, say I have a bunch of audio files. 4 or 5 of them are peaking at -1.2 (eek!) and some of them are peaking at around -22.2 (fine) and -18 (good)

I'm looking for something that can batch trim the gain on the -1.2 files so it's down to -18, but NOT change the -22.2 file. So... essentially something that will "normalize" files but only trim-normalize, never add-gain-normalize.

Is it possible?

I have hundreds of audio files and doing it manually seems not fun at all!

wall insulation - more or less glass wool

audiotreat — Fri, 17 May 2013 22:54:20 GMT

I'm in the wall building stage of my project - MAM, wooden studs with 30mm Gyproc on each leaf. Wall studs on both sides are being stuffed with Isover Energylite glass wool Batts (600x1200mm density = 47.5 m/2)

The air gap is on average 300mm between the walls

I have just read many posts saying that when it comes to wall insulation "The pink fluffy stuff is best" We have a fluffy pink glass wool product available locally called Aerolite - its 100mm thick and has density of 12kg/m2. Would this in fact be better than the 47.5 batts I am using despite the lower density ?

Or perhaps because of the ample space available between the leafs I could add another layer of Aerolite over the stiffer glasswool to improve overall performance ?

Any thoughts?

Thanks!

PT8LE Group Selection

rcb4t2 — Fri, 17 May 2013 22:51:12 GMT

Hey all - I have some groups made in a session, set to edit and mix. When I click on a grouped track, it used to then select all those tracks. Now it defaults to selecting only the single track. Making editing very difficult! I have tried trashing all preferences and rebooting - problem follows multiple sessions. Have tried every combo of "Link Timeline and Edit Selection"-style options. Anybody experienced this before??

When I click on regions it selects all of them in the group, but not track names. Was working great last night - nothing's changed since then. Thanks.

what to put in my first rackmount

rjo361 — Fri, 17 May 2013 22:49:46 GMT

hey guys, i have about $2000 to spend and I was wondering you you had any idea of what to put in my first rackmount. I use a zoom r24 interface into a macbook pro running cubase 7. should i get compressors, mic pres, or what? I'm kind of overwhelmed by everything thats out there. thanks

Reason 7 and EWQL

DanGo — Fri, 17 May 2013 22:27:28 GMT

Until now, I've been using Reason as a giant VI slaved to ProTools and using EWQL symphonic orchestra as an RTAS, but now that I have Reason 7, I want to compose entirely in Reason and mix in ProTools.

Has anybody succeeded in connecting a standalone vi like Play to Reason 7? If so, how? I feel I'm close, but not quite there...

Keeping my juno 106

Nedavine — Fri, 17 May 2013 22:23:41 GMT

Had my juno up on Craigslist for a long while with no interest, suddenly get three people falling over each other for it. Had a little play with it last night, and now I'm thinking about keeping it. It's been sat there doing nothing for ages. But it's actually quite nice. I really like those boards of Canada style leads and pads and the juno can get some nice stuff in that vein.

Daking FETII- impressions

Danny Infield — Fri, 17 May 2013 22:14:05 GMT

Hey all!

Just wanted to post some impressions I've had of the Daking FETII after a month of ownership and use on mostly vocals and peaky instruments. I hope this is helpful for anyone looking to try this unit! I'll keep it to a few salient points.

1. compression action- it may use an FET, but it is a very very transparent compressor. Basically like the worlds fastest fader. There is an absence of both the obviously bad artifacts (loss of hi hz, closed in sound, obliterated notes) i was previously able to hear in my prosumer gear when pushed (eurka, la-610) and absence of any sometimes desirable squash sound I hear in other fet comps. Basically, it's not an 1176.

2. release times- IMHO, they are effectively faster than advertized. One of the biggest concerns I'd had before purchase was whether the fastest release time of .5seconds was fast enough for me. I couldn't remember the last time I'd set a release time of more than a second, for example. Now, I'm trusting my ears and the VU meter (if to be believed) here, but it seems like when it releases after the transient passes, the comp "gives back" most of the GR relatively early and then slows up (this on the so-called single time constant, not just the dual/triples). I think this is a good thing. it was able to keep up really well with a happy snare and fast vocals, and the slower release times do i think force you to set it reasonably so it's hard to get it "pumping."

3. "color." There really isn't one. I've heard folks say that the jensen trannies add weight to the sound, but IDK i think the fact that it has them may be messing with their minds. Maybe a touch of mid push with the output on full blast, but nothing really weighty. What, in my experience, the well balanced xformers do allow for which is nice, is you can run obscenely loud signals into it. I have a few pres with exceptional output headroom that sound really good pushed. (and one has no pad... ahh!). I can basically gain those up where i want, and it doesn't clip the daking. I've then been taking some db's off the top for peaks, then laying off the make up gain, and the converters see it as barely in the yellow.

Hope this is of help. Specifically the point about the supposedly slow release times.

-danny

DAW BUILD HELP: Windows 7 64bit pro / Cubase 7 64bit / RME Fireface 800 + OctaMic II

techmetal — Fri, 17 May 2013 22:03:26 GMT

DAW BUILD HELP: Windows 7 64bit pro / Cubase 7 64bit / RME Fireface 800 + OctaMic II

Hello fellow gear sluts,
I am going to fore-warn I am going to be extremely thorough with my DAW Build Specs as its critical to try to solve the problems I am experiencing. My Goal: I am hoping to find like-minded PC DAW Builders/Sound Engineers/Musicians that are using the RME Fireface 800 with great success. I am very aware my current DAW build is OUT OF DATE as I understand the cheapest socket type at this time that is used for professional DAW builds is socket LGA 1155 and then of course up from that is LGA 2011. If I cannot make it work with what I have I am prepared to shell out the cash to build yet ANOTHER DAW BOX. I have way too much time and money invested in my studio to give up…. There isn’t an OUNCE OF QUIT IN ME….. That is fact I am in this for the LONG HAUL.

I am going to start off with my current DAW specs / hardware then I will get into the painful path I have travelled with PC / DAW builds….

Windows 7 64bit Pro / Cubase 7 64bit Pro / RME Fireface 800 + RME OctaMic II

CPU: Intel Core i7 940 – Bloomfield 2.93 GHz - Socket: 1366 LGA

Motherboard: ASUS P6T DELUXE V2

Chipset: Intel X58

Southbridge Intel 82801JR (ICH10R)

LPCIO: Winbond W83667HG

BIOS: Brand: American Megatrends Inc – Version 1202 – Date 12/22/2010 (most recent BIOS)

Graphic Interface: PCI-Express – Graphics Card: NVIDIA GeForce 8500 GT – 512 MB GPU Memory – Memory clock speed 459/333 MHz. (I bought this fan-less card purposely to avoid fan noise and avoid unnecessary resource draw away from other precious resources my DAW needs)

Memory: DDR3 Channels: Triple – Motherboard is maxed out every slot on RAM each module is 2048 all six slots are maxed out so 12GB of ram – PC3-10700H (667 MHz) Part Number: CM3X2G1333C9 (Corsair)

I think the ram is set to the default CAS Latency which in this case is: 9-9-9-24

Okay I will start with what I have disabled on the board: First off disabled the on board audio in the BIOS. 2ndly I have tested using both the onboard FireWire and the TI Chip PCI-E FireWare Card I bought off of new egg because that is what RME told me to buy a TI chip FW card. However I would like to ask / confirm with all of you has anyone used this FW card and had success I am told it’s an “Off-Brand” and that concerns me….

SYBA Model SD-PEX30009 PCI Express to 1394 Card Add-On Card - Newegg.com

Okay so moving on to describe what has been happening….

When I am in Cubase 7 (64bit) in a new project I add some tracks and do some guitar recording through my SM57s and after a while the RME Fireface 800 will completely drop out and not be found in device manager and the RME Mixer goes all crazy and has a bunch of overages showing this in turn freezes up Cubase 7 for a while and then Cubase will ask “The sample rate of the project has changed from 24bit/96KHz to 44.1KHz would you like convert the files to this sample rate?” I of course click NO to that. Now turning off the FireFace 800 and turning it back on does NOT help it is still undetectable by Device Manager. Now I end task Cubase 7 and RME Fireface Mixer and its other control panels cause they are all locked up. I turn off power to the RME FF800 and the OctaMic II, shut down the DAW, Boot Up the DAW and turn on both RME hardware at time of starting boot. Most of the time the RME FF800 will still not be found in device manager. When this happens I just call it a day and the next day I come back and boot up and windows 7 sees it again in device manager. I have spent a very substantial amount of time on the phone with the RME Tech troubleshooting these issues. I am going to break down exactly how that went.

1. Make sure you test with another Firewire cable to rule out the cable being bad; did this same problem occur.
2. Order a TI chip FireWire card to rule out the onboard firewire being the problem; did this same problem occur.
3. Update your motherboards BIOS to the current version and set all defaults to new BIOS version to stock. Then double check that NO POWER SAVING OPTIONS are enabled in the BIOS; did this same problem occur.
4. Next step send the FF800 back to RME for them to test; they are on Day 4 of Bench Testing it with Windows XP with a program called “Reaper” and have been unable to replicate or produce ANY problems what so ever. They are going to be getting inside the unit today to check all soldering contact points of the board / fire wire ports to rule out the possibility of that being the problem for my intermittent connectivity issues

So as you can kind of sense I have went through all the motions here and I am still not finding resolution to my problem/error.

As I mentioned before if it is my motherboard or any incompatibility with my chipset I am willing to shell out the cash to buy new motherboard / proc / ram / etc essentially a new build again….. I just want to find others on the forums here that are using the same Op system (windows 7 64bit pro / Fireface 800 / Cubase 7 64bit version to verify with them what they are using and that its working rock solid for them as a DAW solution.

Please let me know if I have left out any info that is needed to further diagnose my problem/error scenario.

Thank you all for reading this and I am confident I will get to the bottom of this crap and be able to get down to recording some SOLID TECH METAL! Cheers \m/

P.S. Even if you don't have info on my particular problem and are using the same Op System/RME Hardware/Stand Alone Recording Platform please post what is working rock solid for you in terms of your DAW Build Thank you in advance :)

how to plot an eq curve?

pacealmondo — Fri, 17 May 2013 21:52:51 GMT

How would I go about measuring the eq curves of a recent Drip Pultec EQ build of mine. I would like to see graphically what it is doing ? Do I need special software ?

with thanks

Degree for game sound

H0bgawblin — Fri, 17 May 2013 21:37:57 GMT

I am rephrasing this question. Is a degree for sound design necessary in getting work in the gaming industry? Currently I go to a conservatory and the school near by has an audio program that leaves one wanting. Regardless I was going to take classes while finishing my vocal performance degree.

So here are my questions

1. I have the ability to work on video games due to my brother being in the industry and having connections for internships, etc. While I finish college I was going to get work experience and pick up skills here and there so I can focus on being better instead of taking unrelated classes so I can get a piece of paper. Do I need a piece of paper if I can show work experience?

2. Is there anyone here with experience in sound design for video games or can direct me to a webpage that is more devoted to this specific work?

3. How involved is it to get certified in logic and protools? Will I need to invest in the 500 dollar copy of each software or will lesser versions do for the lesser qualifications?

Saffire pro 40 only outputting mono

Chadwick0 — Fri, 17 May 2013 21:30:33 GMT

Hey guys, just to give you an idea what I'm running, I am on a Macbook pro running via firewire into a focusrite saffire pro 40 audio interface. Up until last night there were no issues, but today everything that comes through the interface is in mono, pro tools, reaper, itunes, spotify, everything. Both left and right monitors are outputting. I have checked the saffire mix control, the mono option is not activated, I have checked the sound preferences in the universal access section in my computers preferences and the mono option is unchecked. This seems to have happened randomly, I have never had issues like this before and I have not changed anything in my settings. Does anyone know how to sort this issue out?

Has anyone here every REAMPED BACKING TRACKS??

refae — Fri, 17 May 2013 21:28:29 GMT

So, I am doing a studio project & had to pick up a Radial JCR Reamp box to reamp some bass & keys through Fender & Marshall cabs & it's working out great.

I had a crazy idea-- does anyone ever reamp their backing tracks live?

We use an ipod with studio recorded tracks: drums, bass, keys, el gtrs

And we do ac gtr & vocals live.

We're using Mackie 350s as monitors and mains for small/medium gigs with a Mackie 1202 & a 4 channel splitter to mix either the whole thing or sometimes just our monitor.

Would it make any sense at all, rather than just to DI the ipod into the splitter/mixer chain, to insert a Reamp box (or two if we want stereo) between the DI and the mixer-- would that make the sound coming out of the Mackie 350s any more 'lifelike' i.e. as if the drums are actually there, or is this totally irrelevant?

For times when we're playing bigger venues with larger PAs & speakers, would this reamp idea make any difference there or would it be about the same?

This would be the signal chain:

Ac Gtr + Vox + ipod L + ipod R ----> splitter----->Reamp box(es?)---> FOH

I'll probably play around with it, but I just thought I'd see if anyone here has ever used a reamp box on PA speakers to reamp some backing tracks, and what the results were, ie did it make any difference or about the same?

Thanks!

The synth revolution (that never happened)

Lune — Fri, 17 May 2013 21:26:42 GMT

I love synths and the sound of synths- please make a note of this before you continue reading

I was going about my business the other day and wandered in and out of stores, watching movie trailers, hearing radios in cars- and it struck me: you rarely hear synths

the world loves the old intruments- a tiny minority loves synths

Go listen on the radio- 99% of the hits are just the same old fair- drums, guitars, EP's, organs, bass, strings horns

Go to the movies- almost every soundtrack is primarily still orchestral based

Play video games- same deal (yes, check out many video games not just the few and tell me what you hear)

Now you can find some who like EDM at parties, M3's etc. but even this is greatly outweighed by country, rap, hard rock, etc. and this doesn't include those who still mainly play classical, light rock, oldies, etc at home

Synth sounds are not more complex than traditional acoustic and electric based sounds- if anything, the reverse is true- the wave shapes produced by kettle drum samples have far more richness than 95% of the synth patches I hear (heck, EDM synths seem to be mainly white or pink noise)
Even in the heyday of Wakeman and Emerson the vast majority of people were listening to the horns of Chicago and then the strings of disco.

When people spend hours programming their own sound they develop the belief that it is more complex and interesting than it really is- this is not their fault- it is human nature.

The synth revolution expected in the 70's never really happened- the old sounds, it turns out, had a lot more going for them than the new sounds.

The reason is that the "new' sounds probably aren't really that new at all.

Musical instruments evolved a great deal between 1600 and 1850. I think that many of the sounds produced by synths today were actually produced by some other natural way years ago by accident or experimentation. Someone shoved something into an organ or tied things to piano strings (I think Satie or someone actually did this). But the sound produced by these experiments was found to be displeasing or not that useful so the inventions never caught on.

I am one of the minority who loves synth sounds- but I can understand why the majority finds them cold, boring or not very useful in a music mix.

Here is the problem: a song or orchestral piece is a complex thing with many sounds happening simultaneously- traditional electric or acoustic instruments produce a kind of complexity that somehow fits into a song and meshes well with other instruments. Many of the most interesting of the synth sounds seem to get blurred and buried in a mix- this leaves the basic saw, tri, sine, etc. waves (which, while the hold their own in mix, aren’t all that interesting by themselves)

Interesting synth sounds seem to shine the most when there aren’t a lot of other competing instruments- but this excludes them from most popular forms of music.

And don’t blame the listening public for being stodgy and unimaginative- look at how slitched and diced samples have invaded everything from commercials to kids movies- the public loves new sounds- they just don’t find synths to be that interesting or fun. The sampling revolution DID happen!

There are two negative reactions to what I am writing that I can anticipate:
1. I hate synths- nothing could be further from the truth- I have 9 synths and spend hours playing, designing and enjoying synth sounds (I also love non synth instruments equally)
2. I am wrong about the lack of popularity of synth music- again, if you step back from the narrow focus of EDM, etc. and look at the big world- only a very biased person could argue that synths are more than a tiny minority of the instruments you hear. I suspect many are so immersed in synth music that they will not be able to bring themselves to believe this. (and some undoubtedly will label all processed samples as synth music)

I wish synths were a bigger part of music- maybe that day will come, I hope so as I love the sound so much. Maybe synths will find their true home as solo instruments such as violins and pianos.

Anyone ever notice loudness differences in same spkrs?

darkhorse — Fri, 17 May 2013 21:22:19 GMT

Anyone ever notice some speakers of the same make, age, and design are louder than others. Is this common? I noticed today having split wired my 4x12 that one of my speakers is either much louder or the one next to much quieter. I guess that is why in the studio they place mics on the better speaker?

I thought oh great now one has to work on matching sets of speakers like amp tubes???

2 identical USB MIDI keyboards hooked (same name different USB port) - PT sees only 1

mizpulyn — Fri, 17 May 2013 21:06:43 GMT

Hello i have 2 identical USB MIDI keyboards plugged to different USB ports on my PC at the same time, they are both Korg microKEY 37 USB MIDI keyboards - programs like Ableton 8 can distinguish them and show me 2 separate midi devices (available inputs):

1) Korg microKEY
2) Korg microKEY (Port 2)

PT10 only shows me 1 unit and ignores the other... it says in MIDI/Inputs Devices:

1) Korg microKEY

how do i make PT realise there are 2 identical units (same name different USB port) both plugged in and i want to be able to assign them in PT to different instruments each...

in Ableton 8 NO PROBLEMO

i already tried some suggestions and obvious places like checking:

Setup/Peripherals/MIDI controllers
Setup/MIDI/MIDI Studio Setup
Setup/MIDI/Input Devices...

unfortunately PT10 can only see 1 entry in the "Setup/MIDI/Input Devices..."

[x] microKEY

1 unit works the other one is unresponsive in PT10, in Ableton 8 they both work and are listed as 2 separate units with unique names...

iam on Windows 7 x64 SP1

thanks everyone

Pickup wiring phase

darkhorse — Fri, 17 May 2013 20:54:13 GMT

Anyone get this problem of changing out pickups and mixing makes, some are out of phase with others despite the color code is common?

This has been driving me batty this week having redo a couple of my guitars as when run together the pickups are thin and out of phase.

Also question on "reverse winding" is that any different than just reversing the leads on any pickup? Does that cause out of phase interaction as well?

Problems with RAT 2

muppletification — Fri, 17 May 2013 20:53:42 GMT

Hi everybody! New member looking to find someone who can help me with my RAT-problem :)

Got my hands on a used RAT 2-pedal for a bargain price earlier this week. Didn't get to test it before the purchase, only got to see that the LED lit up when engaged; but I just couldn't pass up the opportunity to get my hands on this classic pedal at that price. Anyway, to the technicals:

When all the dials are pointing right up there is barely a signal passing through. When volume and distortion are both cranked the signal is distorted, but the volume is lower than the clean signal.

The person the previous owner had bought the pedal from had apparently done some modifications to it, including changing to the LM308N-chip and removing the 47 kOhm resistor, aka. the Reutz mod.

I've taken the pedal apart and all the solder joints seem fine, changed battery and tried different power supplies, tried with low-output guitars into "big headroom" amplifiers and taken the 3PDT-switch apart and cleaned the connections.

I would really appriciate any help i could get from you guys! I have a low-to-medium electronics competence. I sucessfully built a theremin from scratch last year, but guitar effects are new to me. If you need some kind of "gut-shot" of the PCB, just let me know!

/Philip

Vocal Mixing Feedback Requested - Samples posted.

ellpolo — Fri, 17 May 2013 20:48:26 GMT

Hey all,

Could really use some feedback and guidance moving forward on this new track im working on. The genre is pop/radio rock. I've posted my mix as well as 2 reference mixes from the same band at a different studio.

Problem: I think the vocal is about 70% of the way there on my mix "GS New Vox 3." However, after about 5 different eq/comp/processing recipes, I'm still finding the vocal to be a bit grainy. It's not overly bright or anything like that-- but its just not glassy enough. The vocal is running through some filtering, surgical low-mid eq, the waves RVOX limiter and an 1176 for dynamic control. Note I'm very fond of glassy, yet powerful voices - and I know the singer is capable of that by listening below to some reference mixes of the same guy.

Reference mixes "GS New Vox 1 and 2": These were recorded at a different studio a year or 2 before. What I LIKE from these... the glassiness. There's something they're doing with the compression that I love, as well as something cool they're doing to the low mids of the voice. (between 400-800hz.) If someone can point me in the right direction to get closer to this sound, please do!

Gear: My rig was a Telefunken CU-29 tube mic into an a-designs pacifica. Not sure what preamp the other studio had.. but i think the mic was an audio technica at4050.. which I know to be a more sibilant and bright mic. Boy they sure tamed it well!

Any feedback or input is appreciated! Thanks for listening.

Attached Files

	GS New Vox 3.mp3 (1.44 MB)
	GS Old Vox 1.mp3 (1.44 MB)
	GS Old Vox 2 .mp3 (2.00 MB)

Making music instead of working

Looneytune — Fri, 17 May 2013 20:33:31 GMT

So obviously I do this music thing Part time and lately not a day goes by where I wish I was not working for the MAN but making music instead.

I have no choice but to work as it pays the bills and buys me more gear.

Anyone else feel like this at all?
I am tired of corporate banking and think about making beats all day long:amaze:

Just wish I found this music thing earlier on in life instead of 5 years ago.
Maybe then things would be different:facepalm:

Multiple Iloks & license keys.

Realziment — Fri, 17 May 2013 20:26:01 GMT

Hey,

is there a general rule of thumb for connecting multiple licence keys from different companies etc, are these using much power on the usb bus, is it better to have them connected to hub, or how many is the limit etc? Silly question, but between steinbergs licenser a couple iloks and a proppeller head ignition key, its a bit much!

Cheers!

Rugged CPU fan for mobile rig

klaukholm — Fri, 17 May 2013 20:23:07 GMT

We are having problems with the intel fans for our i7 systems.
The plastic fastening legs are coming loose and we have experienced two incidents already, thankfully not in session. If oone leg shakes loose the cpu overheats.

I need a fan that attaches very solidly.
Our old core2 duo systems had fans that locked in place and was extremely solid.

The motherboards in question are asus p8p67 and p8q67

Ableton Live 9 Plays Out of Tune Only When I'm Using Another Audio Interface

DamianC — Fri, 17 May 2013 20:02:28 GMT

Okay so here's the problem:

Everything I'm using Rig Controller 3 as my audio interface as my input and output, in Ableton Live 9, I get everything completely out of tune even the metronome sounds like it's out of tune. When I export the audio out of my DAW it's in the correct tune.

Then I took my laptop to my sofa and plugged in my headphones directly into my laptop and everything sounds perfect on Live 9.

However, when I use Ableton Live 8 with my audio interface, it sounds fine and in tune.

Is anyone having this problem and does anyone know what the problem might be?

Roland MKS-80 vs Moog Voyager RME + Roland VSynth

ForWerd — Fri, 17 May 2013 20:02:19 GMT

Hi guys,

I'm hoping to get some perspective. I'm considering selling my MKS-80 then getting a Roland V Synth rack. With the idea of sampling my Moog into the V-Synth for polyphonic synth action. The VSynth just seems to offer so much in the way of sound/sample manipulation when compared to the MKS-80. Sounds like blasphemy I know. I do focus on Hip Hop style beats for the most part so there's not a whole lot of filter sweeps. I really like the pitch shifting and time stretching power of the VSynth and could probably get some use out of the vocoder, not to mention it can be used as an effects processor as well.

Would I be making a mistake here, or does is seem like a good decision? I know Gearslutz can be very opinionated, so all opinions are welcome, but lets try not to turn this into a digital vs analog thread. I just want to know which you would rather have to work with and why, Roland MKS 80 or Moog Voyager Rack + VSynth?

Thanks guys.

So I bought my first 2nd hand plugin today - shady business?

worky — Fri, 17 May 2013 19:46:46 GMT

Today I've bought a plugin bundle second hand from the user of another forum. The price was really good and the user was registered there for several years, so I trusted him.

The deal went smoothly, he was really nice. The serial numbers I got from him worked without any problems, he simply forwarded the email he got when he first bought the plugs.

Now I've just seen that he opened a thread in another forum, selling exactly the same bundle for the same price.

Should I be worried that he obtained the serial numbers illegally? Should I take action somehow? Can this get me into trouble? Please advise.

(I am not saying that he is a scammer, I am just wondering.)

Roland MKS-80 vs. Moog Voyager + RME

ForWerd — Fri, 17 May 2013 19:41:58 GMT

Error in title, please delete

Some free Jomox 888 samples for you

BTByrd — Fri, 17 May 2013 19:34:21 GMT

Some samples I made before I sold my 888. Nothing fancy, but hopefully useful to some of you. Enjoy!

Signal chain: 888 -> UA LA610 MKII (very slight compression) -> M-Audio Profire 2828

Attached Files

Jomox 888 Samples.zip (786.0 KB)

Cheap (~150USD) Multi Pattern LDC

Simultaneity — Fri, 17 May 2013 19:32:49 GMT

Hey guys, I'm looking for a cheap MULTI-PATTERN LDC mic to use on a variety of sources, though primarily acoustic guitar. I want to get a multi pattern so I can do M/S recording with the figure 8 and play around with omni for room miking, close up acoustic miking, etc. I also want something different from my GAP FC1.

I'm really strongly leaning towards the Studio Projects b3 but I know there's other stuff out there, the AT2050 in particular.

Would I be well off with the B3 or should I stretch to the 2050 or is there something else?

Is there anyway to port Miroslav Philharmonik sounds into another format, or, player?

Schwarzwald — Fri, 17 May 2013 19:27:58 GMT

Hello all, I purchased Mirsolav Philharmonik from IK a while ago, but recently I've upgraded my system to 64 bit. (I had ACTUALLY been on 64 bit before, but stuck with a 32 bit host and plugs BECAUSE of Miroslav and Korgs Legacy.)

In any case, it's common knowledge that IK won't be updating these plugins, I was just wondering if there was a way to port Miroslav into another player that has 64 bit compatibility?

Teething Problems with my New Guitar Build

lasthidingplace — Fri, 17 May 2013 19:27:38 GMT

Good everyone.

I've recently turned my old £20 Yamaha SE110 into some form of bastardised EMG goodness. I've got a Yamaha Pacifica body, the neck from the SE110, a Wilkinson bridge and Wilkinson tuners. I've then got some high-end EMG pickups on it all, and the sound is pretty good.

Except for...

The tuning!!

Currently, I'm trying to work out what is causing my tuning problems and I was hoping you guys could help. I'm not sure if it's coming from the Wilkinson bridge, the old neck (and if I should replace it), the nut in the neck or something else.

The issue I'm getting seems to be that of intonation to some degree, but it's weird; I can tune all the open strings perfectly, but then if I play the 12th fret notes they ALL sound flat. This becomes somewhat weirder when I check the intonation of each of the strings, and they are all SHARP. I then wish to flatten them with the saddles, but I cannot seem to adjust some of them; they seem to be at their "lowest" point, and when I start flattening them the screw actually starts just coming out (if that makes sense).

I've adjusted the truss rod as well and this now seems fine (fretting at the 1st and 14th fret, the gap at the 6th fret seems about the size of a business card which I believe is correct).

The only other thing to note is, while I have FIVE (yes, five) springs on my Wilkinson bridge, and they appear to be tightened up as far as I can muster, the bridge itself still seems too raised.

So yes...can someone kind of point me in the right direction on how I can fix my tuning issues? This guitar is SO close to being my new favourite over my Telecaster now, but I just cannot use it fully until these issues are eradicated.

Melodic techno/electro using Acidlab Miami, SH-101, JX-8P

binman_uk — Fri, 17 May 2013 19:24:07 GMT

As the title suggests it's a melodic techno/electro track made with my Acidlab Miami, SH-101 and JX-8P.

It's probably a bit long but I tried to make it shorter and ended up adding 1.5 minutes onto it :cop:

https://soundcloud.com/binman_uk/binny-sleepwalker

Cheers,
Binny

lift table/stand for keyboard

JohnnyP702 — Fri, 17 May 2013 19:01:32 GMT

After many attempts at arranging my small studio, I've discovered that I prefer my large 88 key keyboard to be in front of me at all times. I already have a custom desk so I can't really add onto it. So I was thinking that maybe there was some kind of special stand or table that the keyboard can rest on under my desk right under the keyboard tray. I would then roll this stand/table out from under the desk and then up to wrist level where I would be able to play. Does such an item exist? I posted some pics of my desk for an idea.

Attached Thumbnails

Midas Venice U24 or A&H Zed R16?

.Russ. — Fri, 17 May 2013 18:35:30 GMT

I want a decent mixer, audio interface and summing box - I produce EDM.

I had virtually bought an Allen & Heath Zed R16 - (having done a fair bit of research) for my needs and the money it seemed ideal.

In true GS style I have blindly stumbled upon the Midas Venice U24 and need a few opinions on anyone who has used both of these units as they are both roughly the same price in the UK.

My use(s) would be purely studio based, for external outboard kit to connect to my Mac Mini and DAW (Ableton Live with Reason). I would like to be able to treat my external kit with plug ins inside my DAW through the desk and generally mangle sounds on the fly.

I am wondering how the EQ and A/D D/A compares between the two?

Also generally what would be the better option or alternative?

Cheers

Russ

need help (desperately) to change my soundcard

birdy — Fri, 17 May 2013 18:34:36 GMT

here's the story,

I have bought a M-audio Profire 610 (firewire) sound card a year ago and always had problems with it (pops, clicks, drop outs etc) apparently usual
for this hardware. I had a 2000$ Sony vaio laptop and as I was having problems
I decided to change it and buy something that works with my sound device.

So I came here and asked for help and was advised to buy a HP-Elitebook 8770
and I got it for 2800$. This laptop comes with firewire port, also but I'm still having same problems :( I'm really disappointed and tired of all this and think my only option is now to change my sound card.

I have bought the sound card for 299 euros. What I need is another card but this time making sure it will work with my laptop. I have usb3 ports, pciexpress e-sata .

can anyone with experience help me with this problem telling me what to get?
All I do with the card is recording my voice with microphone or playing vsti piano and singing on top.

If any other info is needed let me know plz

High Pass Filter - Channel EQ

Rossd25 — Fri, 17 May 2013 18:33:30 GMT

Does it matter whether you use a Channel EQ or Linear Phase EQ to roll off frequencies below 20Hz? I usually take care of these frequencies during mixing with the Channel EQ, so I never high pass the entire mix in mastering. However, at the same time I realize that the Channel EQ is adding some gain. I prefer this EQ to the Linear Phase one, though.

Dynaudio BM-15a Problem

bluevoice — Fri, 17 May 2013 18:21:44 GMT

Hi there

Beforehand: sorry for the long thread but I have a real frustrating and tricky problem.

In my little but nice Homerecordingstudio I record my songs (voice, acoustic guitar and harmonica). Files that I like and are important to me I give to a professional studio for the mastering. I don’t know much about studio technique and mastering. I don’t want to spend much time in trying, tuning etc. and therefore normally like simple solutions and uncomplicated handling.

One week ago I bought a couple of active powered Dynaudio BM-15 Monitors. Of course I need them for Recording/Monitoring but at least as much as a (hifi) speaker for listening music. I always used studio monitors to listen musik (from CD- and later also MP-3-Players). So that side of using my monitors is very important to me.

Now I got a problem with my BM-15s:
Whereas I’m quite content with the way the monitor handles the high and middle frequencies I find the bass/deep lows are not what I expected, especially from a monitor at that price. With about half of the music I listen (also good recordings of Jazz and Classic in wav or apple lossless) the bass is rather kind of humming or in an unpleasant way (to much) vibrating / rumbling / booming than crispy, fresh and defined. I found that this is not a defect but how these monitors really are, as I could listen to another pair of MB-15s. Also the stand, filled with sand and the low-filter of the MB-15s make things only slightly better (also because it’s not possible to point out an tune specific problematic frequencies).

My main concern is not to have a “mega bass” being top of the line in reproducing all the lows down do 20 Hz, but I expect a – as I said – crispy, clear and defined bass (even if it goes down to “only” 35 Hz) that also reproduce the wood of the instruments (e.g. I love Contrabass in Jazz.Music). That second thing alone the MB would do o.k., however with this rumbling, booming etc.

Sure, my room has not the best acoustic and has a size of 20m2 only. Therefore I don’t respect the best results. Still: also under the mentioned circumstances the phenomenon is with it’s distinct tendency unusual and not tolerable. Above that it frustrates me quite a lot.

So I tried to learn something about that phenomenon in some forums (gearslutz and others).
I read, that other people in acoustically better and bigger rooms have or had the same problem with these monitors too. It was also mentioned, that they have a hole between the mid and high frequencies (due to the difference in size between the HF- and the LF-Drivers and therefore nothing especially unusual). I anyway don’t care about that point, because I have not a problem with the BM-15s midds and highs.

The most important posts on the described phenomenon are the following ones:
1. The BM-15 has a weakness between 150 and 400Hz. Could this – beside the frequencies between 35 and 100Hz, which I guess could be the real problem – be also a part of the reason?
And two times I read that
2. The BM-15 really needs a lot of constant power. But they say, the built in amplifier of the active version has not the necessary quality/power the speaker needs. So it would be much better to buy the passive version and a good and strong separate amplifier.

Well, but now I still have the active version and I don’t know whether I can give them back (even though I buyed them only one week ago). If I can’t give them back:
Please HELP!!! What can I do???

Different possible solutions:

A. A good analog equalizer for studio/mixing and musiclistening

B. Analog preamp with EQ, Low filters… for the musiclistening. I would connect it then to an MP-3 Dock (which I haven’t yet) and – over an interface – to my macbook (playing wav and apple lossless files).

C. Digital devices such as Interfaces, Processors etc. for musiclistening. Then I’d connect it to my Mac and my future MP3-Dock digitally (over crossing the internal DAC of the player). Of course the device then should have really good DACs and a good digital EQ.

D. Room- / Tone-Correcting-Systems (e.g. KRK Ergo)

There are quite different opinions concerning these solutions. There are people pretending that even analog EQs make things worse or just don’t help.
Others say, these are antiquated ideas and attitudes and that an EQ can do a good job without raping or changing the signal except there, where it’s intended.
On digital equalizers etc. and especially Room Correctors people are even more critical. Most of the time, the results were not satisfying or often even bad or worse than it was before the correction. And - especially room correctors - are often said to be complicated and that It would take a long time to find out how these devices really work and/or to find the right adjustments (contrary to what the manufacturers usually promise). And that’s what people say who have more or much more experience and know more about studio technique than I do.
But nevertheless there are not few people saying, this was an old idea and attitude and that these kind of tools nowadays – even if they don’t work miracles – can be quite useful and could bring a hearable improvement.

As I said, I normally prefer simple solutions. And I have already spent not little money for the monitors themselves and really didn’t expect some further costs.
That means the solution(s) should be
1. not to complicated, and
2. not to expencive

A dealer told me for example that the Behringer Ultra Curve Pro DEQ 2496 was a good and useful (even efficient) device and in the meantime to be found in not few professional studios (even though many of them don’t like to admit it). And it is quite low priced. I know that the expensive stuff is not always the best and stuff with a reasonable price can be very good.
But still: Can this be? So cheap (some 400 ds) and still so good?

For the already mentioned solutions (without the costs for an MP-3-Dock) I’d be willing to spend up to 1’000 maybe 1’500 ds . If the devices cost more, I’d had to look around for them in the secondhand market.

There is one last option, I’d even be willing to pay more for

E) a subwoofer (although I’m normaly not a downright subfan)

Of course it should – in contrary to the amplifier(s) in the BM-15a – have enough constant/stable power and a precise/stable frequenzy response without holes. It should fit my monitors well, take over the frequencies where the BM-15a have problems to reproduce and transmit only what’s over 60, 80, 100 or 120 Hz (preferably selectable) to the BM-15. If everything fitted very well, in the best of all cases, other correction equipment would be absolutely unnecessary. Could it then even be better as a couple of passive MB-15s with a good amplifier?

Objections and misgivings concerning the sub-solution:

By now I often had the impression, that subs tend to bring along a certain “unnatural sound” respectively an “unnatural or strange” spaciousness. Is it possible to avoid that using TWO subs?

What about the size and power of a sub? Very powerful very low frequencies can cause problems especially in not so big rooms. I don’t want to even have an additional problem, which then has nothing to do with the amplifier/monitor anymore at all.
And as I’m not looking for a megabass anyway, a sub with a 10” driver – same size as the LF driver of the MB-15 – could maybe do it.

At a first glance the two models of Dynaudio seem ideal. Same manufacturer, type and Dynaudio pretends the subs were geared for their MB monitor series:
- BMS9 und BX. Or is the BX to big/strong?

But: If in the MB-15s the problem is the amplifier, couldn’t it be, that there is also the same problem in the active subs from Dynaudio? Maybe a sub from another manufacturer?

If a sub was the solution, which wouldn’t only clearly diminish the problems but even outperform passive MB15s with a good amplifier (maybe in connection with a good and simple analog EQ or so), I’d be willing to pay 2’000.- or more for that solution.

You see, I’m quite helpless.

Therefore I’d be really glad about your opinions and advice

ur’s bluevoice

Even worth treating my room?

shakedatthang — Fri, 17 May 2013 18:19:18 GMT

Hi, I'm new here and just read the stickies. Well primarily the "Acoustics/Treatment Reference Guide - LOOK HERE!" thread and three most recommended links. It's a lot to take in, but I noticed that there are just so many things involved in treating my room that I can't even do! So I was wondering if instead of getting a great monitoring setup + treatment, I would be better off buying a headphone amp and a good pair of studio headphones instead. Before you rush to the "post reply" button to say that monitors are better, hear me out a little!

I have a small, 11 square meter room that I'm renting in a student house. And I can't drill holes anywhere. I can hang things off a railing under my ceiling, but I can't do that everywhere because of the way my room is made (obstructing things on the walls, etc). To make matters worse, I have a built in high-bed that I put my desk under. Even that isn't the ideal position, it's the best I can do in my room. I would reposition everything, put my desk against the window, but then the best listening position would be next to my door... that has a mirror installed on it (so I can't put any treatment there).

There are just so many factors that limit any ADEQUATE room treatment, where I don't even think that treating it even an option, and buying expensive monitors wouldn't do them justice. The only thing I would be able to add are bass traps.

So given all of this. Shouldn't I just get decent monitors to produce on, but do my mixdowns on great headphones? I almost rushed in buying a set of Adam A7Xs, reading that full range speakers would still be better in a small room + treatment, than speakers that lack most sub, but buying high quality full range monitors in my position just seems like wasted cash.

If y'all require a picture of my room, I'll take one. If there's still anything I can do to significantly treat my room where I can justify buying good monitors I'll gladly do it.

I've searched the forum before and I got some mixed results on this. But I suppose I'm asking for people to brainstorm along with me in case I've missed something.

PS. If I do end up getting headphones, should I get an amp or is the one that's in my tc electronic desktop konnekt 6 powerful enough?

To Multiband or not to Multiband

Arnoud87 — Fri, 17 May 2013 18:04:37 GMT

I saw once a clip from youtube or something.
A prof was at the word and he has a friend who make themself compressors on so on.
And they both say ''never use a multiband compressor'' For the reason they believe it will ruin your sound.
They advised to use multiple compressors

This is why I never used one M compressor because I believe he is right... couldnt get much more intelligent than him.

How you feel about it?
I cant proof anything just wanna know how you think. yingyang

Advice on small 4 channel interface to play backing tracks for live gigs

jproducek — Fri, 17 May 2013 17:53:20 GMT

I looked through the forum and did not find my specific issue so hopefully I am not repeating anything.

I play Moog in a live electronic band and we have been playing out with the following setup for the backing tracks.

The drummer has a recent MBP running Ableton for the interface we are using a BLA Signature modded Digi002R sending 3 channels to DI boxes and one more channel for headphones.

We would like to scale down from the Digi to something physically smaller and hopefully under $500.

The main concerns are quality of audio (good convertors, etc) and at least 4 channels of output. We aren't going to downgrade to a mbox and 2 channels :) Quality of input preamps is not a concern, just focused on playback, good clear sound.

An example of what I'm looking for is the Echo AudioFire4 Interface (released in 2007). Hoping someone can give me a better suggestion of how to spend our funds correctly the first time.

High impedance mic pre for Pearl TL-4 mic

tail — Fri, 17 May 2013 17:51:40 GMT

A couple of years ago I bought a Pearl TL-4 for use as a ambient mic in film sound recording. I find it great for this use.

Trying it on vocals and speaker in a studio, I got interested in trying it out more -- the problem is it's impedance demands -- it needs an amp with a minimum of 6 kOhm input impedance. When I tested it in the studio I used it through my Fostex FR-2LE field recorder which has the desired impedance.

I could of course buy a TL-4 ... But I like my TL-4.

I'll soon likely need to buy a mic pre anyway, and I wonder what the choices are when I'm looking for something with that high input impedance.

Ideally it should be a 2-4 channel mic pre priced around $1500.

So far I've found the Focusrite ISA. What other choices can you recommend?

N6 lost bottom of mixer graphics

jwh1192 — Fri, 17 May 2013 17:50:33 GMT

N6 lost bottom of mixer graphics ... on the mixconsole i cannot scroll downward to see the names of tracks at the bottom ... weird ... only on mixconsole not 2,3,4 i added a pic so you can see the bottom where the track numbers are but there are no names of colors .... and the curve of the outline of the mixer portion of the window is not complete. i cannot scroll up but i can resize the window ... i have the use mouse wheel for faders unchecked in prefs .. see pic as well

N6.03 is the version - i am using the Demo still ... 348 hours to go

thank you

john

Attached Thumbnails

Future Loops Releases Urban Symphony: Orchestral Hip Hop Kits

saraFL — Fri, 17 May 2013 17:40:34 GMT

Future Loops has just released Urban Symphony: Orchestral Hip Hop Kits, a collection of Orchestral based Hip Hop construction kits with over 1GB of content.

Urban Symphony: Orchestral Hip Hop Kits is aimed at producers who want to build epic and high impact tracks that feature rich orchestral arrangements with fresh and crafty hip hop beats.

Featuring a wide assortment of Orchestral elements - such as violins, trombone, trumpet, strings, piano, bells, flutes, cello & more - as well as full drum loops, drum loop elements and drum one shots, Urban Symphony: Orchestral Hip Hop Kits is 100% Royalty-Free and includes WAV, REX, AIFF & MIDI formats.

For more info and demos check out our website at:
http://www.futureloops.com/product-u...p-hop-kits.php

iLok2 flashing light thread

jwh1192 — Fri, 17 May 2013 17:36:08 GMT

iLok2 flashing light thread - can we make this the one thread for iLok2 flashing light issues. so we can get some informed information on this ... hopefully from iLok ...

i just read about this in another thread and it happened to me 2 days ago. i thought it was just a USB power issue. as my waves dongle keeps acting up and disappearing ... i took it and plugged it into my MBP and then back to the macpro and it it working fine.

iLok2 flashing light as some say is an indication that it is going to die. how should we proceed to deal with this with iLok ... ????? i would like to see HERE how many people have seen this PLEASE only reply if you HAVE seen this. we can keep this clean if we can avoid the "fine here" replies. be easier to count ...

thank you

john

First Time Post! switch between two 8 channel sources (RCA to Tape)

orenradio — Fri, 17 May 2013 17:30:26 GMT

Hey All, long time observer... first time poster (weak I know, but I had to do it)!

I am simply out of sorts on this one. I have a system that incorporates both analog and digital recording capabilities... however to complete the chain without having to disconnect and reconnect 8 inputs on my deck (depending on my intended source), I would need a simple RCA switcher that chooses between two sets of 8 analog inputs.

This way I can either press input A, and have 8 tracks from my Fostex 450 or Alesis Studio 24 go into my tape deck for analog recordings, or press B and have 8 tracks from my Motu Interface's Analog Outputs to mix digital down to tape.

Oddly enough this is mind-bogglingly difficult to find, and I may have to resort to building my own switcher.

I could, theoretically, send the Motu 8 analog outs into the Fostex or Alesis "line in" jacks, and send that directed out to the tape deck, however when exporting digital to tape ideally I'd like to be direct, and simplify the chain as much as possible.

Is anyone familiar with such a device?
~Oren

p.s. thanks in advance all, I love this forum and have learned a lot! Now its time for me to contribute, and hopefully get some advice!

$15,000 in outboard gear, or one desk?

Woodwindy — Fri, 17 May 2013 17:22:33 GMT

This is a question that I raised in a related post that I felt might derail the OP's question, so I'm breaking it out here:
Using the Audient 4816 as an example, is it smarter for most people to get a product like this with 16 pre's, EQ's, monitoring, etc. than buying all dedicated components? Is the sound that inferior, or that much less flexible? I honestly don't know the answer, even though I've purchased separate pre's, etc. myself. It certainly, from a purely economic standpoint, blows buying separate components out of the water.
Can anyone with specific experience address this? Please keep the discussion to purchasing new gear only, not used.
Looking forward to your experiences!

DEQ830 Alternatives? (need saved EQ curves)

tommyminahan — Fri, 17 May 2013 17:04:57 GMT

Heya.
I'm the live sound engineer at my church, and we have multiple people using the lavelier mics every week.
For me, its not that big of a deal, i can EQ on the fly, and find the trouble spots.
But when I'm out of town or something, they have someone else fill in, and constantly get complains about the sound.
So I figured what I could do was get an Alesis DEQ830, and program a primary EQ mix for every elder/pastor.

However, I've found out that no retailers are carrying the DEQ830 anymore..

So, I've come to you good people.
Do you know of another outboard EQ that I can program and save EQ curves for individual people?

I want it to be simple enough, that when Bob is preaching, the user running the board just has to find the "Bob EQ" curve, and set it.

Thanks guys!! I hope you can help me find the right gear!

Private School Orchestra Recording

JazzSax_UT — Fri, 17 May 2013 16:51:58 GMT

Here's a recording I did of a Private School Orchestra. The Conductor starts her concerts by having all of her students on stage at once. It's fun being surrounded by 150+ string players.

thoughts?

Attached Files

01_ConcertoGrossoNo4.mp3 (6.48 MB)

SonicCharge Microtonic 64bit (+more) Out!

Motion — Fri, 17 May 2013 16:50:41 GMT

Sonic Charge

Picture of the R2D2 patch?

gremlin moon — Fri, 17 May 2013 16:50:26 GMT

From this CNET article (kind of dull actually) on Star Trek Into Darkness and Star Wars sound designer Ben Burtt:
The sounds of 'Star Trek': This man makes them happen | Tech Culture - CNET News

32 bit and noise floor

oorishema — Fri, 17 May 2013 16:40:36 GMT

Hi, my name is Ori and I'm a new member cooge
I hope you can help me with this question, so...

When you record in 16bit the noise floor is about 96dB,
and when you record in 32bit the noise floor is about 1 billion! (1680dB)..

Now lets say I'm recording a guitar in 16bit with a very low signal (The meter barely touches -40db while I recording the guitar into the console) and than in order to make the guitar audible I'll boost the gain of the guitar to -10dB.
So now we have an audible signal with a lot of noise (boost the guitar signal and therefor boost the noise floor).

Now if I'll record in 32bit the same guitar in the same signal level (-40db) and gain the same amount of volume (all the way up to -10dB), does the signal will be with the same amount of noise? will it have a noise at all?

*The noise floor in 32bit is 1680dB if I gain 30dB of volume so the noise floor is 1650dB?....

Thank you

Treatment for new room build - your thoughts please!

Neurodriver — Fri, 17 May 2013 16:36:32 GMT

I'm putting together a spec for a 5.1 audio edit/mixing room at the moment. It will be built in the corner of an open plan office, against two exterior walls. I've attached a scale diagram showing the plan so far.

My current thoughts are to stick with the usual advice and add 4 "superchunk" corner traps made from Rockwool RW3, and treat the early reflection points with panels of the same material.

I was also planning an acoustically transparent false ceiling dropped by 300mm, with the cavity above filled with loft insulation for more broadband absorption.

I calculated the modes for the dimensions: The lowest mode for this room size is 40Hz, followed by 57, 65, 79 - the spacing is fairly even until about 120Hz where two axial modes and one tangential mode coincide. This happens again at about 200Hz. I expect that the broadband absorption should counter the latter, and hopefully also reach as low as 120Hz, but would be interested in hearing opinions on this.

For the <100Hz frequencies, I'm thinking that some panel traps might be the way forwards so as to catch the sub bass modes without making the room overly dead. Something along the lines of the BBC A10 perhaps.

Thoughts? Any tips would be very much appreciated!

Attached Thumbnails

Two location simultaneous performance. Aretha and American Idol girls.

carlosedp — Fri, 17 May 2013 16:25:16 GMT

Yesterday I was watching American Idol finals and at some point, the girls sang a song with Aretha Franklin.

What caught my attention is that the American Idol stage was at Nokia Theater in LA and Aretha was in a studio in NY.

Part of the band was with Aretha (bass, drums, guitar, piano) in NY and the Idol girls were in LA with a strings and metals ensemble.

I wonder how the engineers sync this up considering latency and all.

What are the "technicalities" on this? How its transmitted? Is it engineered on one side and all stems are transmitted separated or they transmit a mixed up pair?

Thanks.

Golden Age Project Pre73 Mods not just upgrades.

Alexmc1988 — Fri, 17 May 2013 16:19:07 GMT

I have the MKI and was wondering what mods people have come up with for this guy. What I really want is a Chandler Limited Germanium Preamp/DI for recording bass with mostly. That's a bit more than I can afford right now though. So anyways, what has people come up with? Would it be possible to add a "thick" switch or something similar?

Engineering a standup comedy album...advice?

dannymeltzer — Fri, 17 May 2013 16:11:12 GMT

Hi all,

I am recording a standup comedy album in a couple months in small theater. As I have never done this exact type of project I thought I'd ask what suggestions for miking, method, etc people might have. Is there a standard mic array for this kind of thing?

I was thinking to record the board feed, have a jecklin disc stereo array in the crowd and also mic a speaker in case that will be able to add a little more of an 'in the room' sound.

Any ideas? Thanks!

Danny

Electronic's Debut Album: Which synths?

ditabeardmemo — Fri, 17 May 2013 15:55:02 GMT

The debut album from Electronic (an early 1990s "supergroup" from Bernard Sumner of New Order and Johnny Marr from The Smiths) was recently remastered, and I fell in love with it all over again. While the synth sounds are very much of the time, revisiting this album made me curious about what gear they used. I'm sure there is a Roland D-50 in the mix there somewhere, and possibly the Emulator III that was in use around the time of "Technique"? There is very little information on the Web about this era, so does anyone out there have firsthand knowledge? Any insight is appreciated!

What to charge as a mixer....?

Unsound — Fri, 17 May 2013 15:42:42 GMT

Hi guys,

About to negotiate to mix a lifestyle tv series in 5.1 for broadcast on a specialty channel. I've been a salary mixer for the past few years and just wondering what the going rate is these days. I've asked around but just seeing what some other pro's think. If the series pays, let's say, $3k per episode, what should I be looking for? Is it hourly, per ep or should I make a deal for all 13 eps?

I guess I am wanting to know what % of the budget is set for the mixer?

J

How to credit tracking/mixing work for a film?

audiogeek — Fri, 17 May 2013 15:37:22 GMT

Hello,

General question here, in a field I haven't much experience with.

A director/producer of a documentary film coming out this summer commissioned a recording of a song by a local choir group. I tracked, edited and mixed it, and it will be featured in the film and again at the ending credits.

How should this be credited? What should/can I ask the director/producer to do about making sure my work is properly attributed?

I know typically at the end of the credit section, there is a part where they list song titles, "written and performed by" credits, and a label that owns the rights to the song... Should my name be featured elsewhere in the credits? Like a separate music "assistant post production editor" or something?

Inquiring minds want to know. I'm a film virgin, so go easy on me... gooof

Most accurate meaurement

jim1961 — Fri, 17 May 2013 15:16:44 GMT

Attachment 345461

Attachment 345462

Attachment 345463

Attachment 345464

As one can see, whether the chair is empty (green), has pillows on it (red) or an absorber (blue), the measurements change noticeably.

So in a broad sense, what is SOP (standard operating procedure) for taking measurements in the first place and is one of these three ways more accurate than the others.

Measurements are taken with BOTH channels driven, mic pointed exactly forward and midway between them.

Attached Thumbnails

Voluntary mixing/mastering engineer needed.[Tracks Ft. on BBC,MTV etc]

B4NGER — Fri, 17 May 2013 15:11:36 GMT

Voluntary mixing/mastering engineer needed.

Genre:Electronic [Bass/House]

Hey there people! My names Sunny and I am looking for a mixing & mastering engineer, the reason I am asking for 'Voluntary" is because I will be launching a "Free Download E.P" (alongside a visual music video for each mixed/mastered track)
It will be used to launch Coming Soon - Substeppers

I took a long break out of music due to my education/graduation but this summer I am looking to relaunch everything back in full effect. We have a strong social following on Soundcloud,Facebook,Twitter (5000 fans+) and also strong network links with companies such as MTV and also artists that are looking for paid mixing/mastering work.

The mixed and mastered tracks will be featured on many popular electronic music blog's such as FACT Mag,Mixmag,MTV etc and also be featured on BBC Radio one.

This would be good for someone's mixing/mastering portfolio.

If your interested please email info@substeppers.com or reply to this thread :)

Thanks

Hybrid Mixng

LCR — Fri, 17 May 2013 15:11:22 GMT

Ok, I've been a long time reader of "The Gearslutz". I've FINALLY setup an account and started a thread! I first want to thank everyone who's posted techniques/opinions of gear, you've helped me on this lifelong journey of how to "not screw up the recording". I think that's really what it all boils down to, actually complemeting the recording of the song that the musicians/songwriters were willing to share with you.

I started this thread in hopes of keeping the conversation geared toward a specific themed discussion. Hybrid mixing.

I hope what it doesn't turn into is a thread about how this technique/gear is superior to that technique/gear. I hope we can simply share our own hybrid workflows, learn/influence each other and how these hybrid workflows are beneficial.

Please do NOT trash anyone or any manufacturer for there business model, marketing, hairstyle or preference in jeans. At the end of the day(or mix) these factors do not apply.

I am hoping we can have a fresh new thread here focused only on Hybrid mixing. Hybrid mixing is my choice of workflow presently. I am not suggesting its better than the alternatives. This doesn't mean I will continue to mix Hybrid in the future, its simply the workflow I choose at this time.

Please list your Hybrid setup/workflow including how long you've used said gear/plugin. Using a new tool for 1 or 2 mixes isn't enough time to form a solid workflow opinion of that tool.

this includes:

A - your DAW and some feedback on that DAW
B - plugins you typically use and some feedback on those plugins
C - analog you typically use and some feedback on that analog gear
D - Summing device or console and some feedback on that summing device or console
E - Interface/conversion and some feedback on that interface/conversion
F - Anything I've left out, or any techniques/knowledge/tricks you would like to share regarding hybrid mixing.

Again, please list the amount of time or number of mixes you've used with the hybrid setup or pieces of the setup.

Again, thanks to everyone on Gearslutz. I've learned a lot here and I'm sure I will continue to in the future. I hope this thread helps us to learn more hybrid mixing techniques and improves our mixing skills.

Novation "Your Dream Product" forum

Pedros — Fri, 17 May 2013 15:04:49 GMT

While Roland remains deaf to the voice of the people, Novation refreshed their forum and added "Your Dream Product" thread.
We can post our wet dreams there and maybe someday they will come true.
To start it up, I proposed Analog Poly-Station based on BS2 with chorus and delay.

HD music video: Uhl - "Das Pille Palle Obst" (live & uncut)

kriSh — Fri, 17 May 2013 15:03:25 GMT

All the fun we had with this little project:

There is no "behind the scenes", this is the scene! Every visible aspect of the production is happening in front of the camera.

And it's featuring an ape dancing on a chair, guess who it is..

Running my own label now

Arnoud87 — Fri, 17 May 2013 14:57:14 GMT

Ye, finally running my own label now and decide what gets released and what not.
However, I got a very important question...

Anybody knows if its a good idea to put full track length on soundcloud?
Or is it better to keep it a ''short of'' demo, so people would buy it faster if its a demo? I dont know what to do :cop:.

maybe people start hating for putting up short tracks :facepalm:
I have no clue whats a good idea, im sure some of you got more experience with it.

Would you like it when people put up cutted tracks? Or do you start getting irritated allready? grrr
thnx

Usbpre 2 vs. DAV BG ???

Lorenzop — Fri, 17 May 2013 14:44:33 GMT

Hi I wonder if they are at all comparable? Of course one has the advantage of DA conversion as well.

But just the preamps, sound wise, is one "better"? I think DAV BG is very clear but euphonic, making things that "tad" bigger perhaps; what about Usbpre2, is it just transparent?

For stereo pair, what would you chose?

Thanks

Swapping ti NE5534AP with Signetics NE5534AN..

Hans A — Fri, 17 May 2013 14:15:01 GMT

Hi,

Im thinking of swapping the TI 5534 AP's in my console with NE 5534 AN by Signetics. I have a batch of 15 pcs 'NE5534 N' and 7 pcs of the 'AN' version.
Are these chips interchangable, i mean the N and AN types?
Or are there differences that would impact the circuitry?

Um, yes.. Im not really that into electronics and there is one odd (for me) thing i noticed when checking out the mic pre stage in the console.
The existing TI 5534 that im thinking of replacing is sittting on top of a cylindrical aluminium thingy. Would be really cool to know what it is and does as part of the circuitry. Is it a heat sink maybe?

The 5534 is below the LL transformer. Sorry for the bad resolution pic.
Best Regards Hans

Best regards Hans

Will we ever hit a quality limit... where things can no longer sound "better"?

CPhoenix — Fri, 17 May 2013 14:14:47 GMT

This is a theoretical question.. and I'll admit it may be a stupid one... but this is the weird stuff I think about on a Friday morning.

In terms of interface I/O, ADAT converters, preamps, EQ's... the whole nine... things are constantly being updated and "improved".

At what point is "sonic improvement" no longer possible in your opinion? Marketing companies will of course argue against this so they can continue to sell you a product that is 10 times better than their last product, but... at what point can things just not get any better.... but just sound different?

I'm aware it's possible this is a flawed question... b/c "better" is super-subjective. But... just in general... it's hard to argue against the fact that most of these newer interfaces indeed sound "better" than interfaces on the market 10 years ago. So... at what point do you think an interface can no longer sound "better"?

I'm using interface as the main example... but didn't want to limit it to just interfaces.

:::::EDITED AROUND POST #18:::::

Another way to pose it is.... the gear that was made during the 1990s and 2000s is regualrly labelled at "inferior quality" to the stuff they've come out with in the late 2000s to present, on a general basis. IE... People will say that the original MBox and Digi 001 sound like hot garbage compared to MBox 3 and Avid Omni.

So.... in 10-20 years from now... will we be saying that Mbox3 and Avid Omni sound like hot garbage compared to Mbox 15 and Avid Omni X sound? Or.... are we at the limit?

There... i think i finally posed the question correctly.

Moving to PT HDN: Avid thunderbolt or Magma Chassis?

Blues Bird — Fri, 17 May 2013 14:09:30 GMT

What would be the better alternative: the Avid thunderbolt interface or the avid PCIe HDN card in a Magma thunderbolt chassis? I am on a late 2012 i7 IMac.
Oh , and depends the answer whether I would connect a Avid I/O or the Symphony I/O?

Thanks for your input.

Is this the same as Rockwool RW3?

Dug Wolfsohn — Fri, 17 May 2013 13:48:48 GMT

Cavity Slab Insulation 10cm - Constructional Insulation - Insulation -Building Materials - Wickes

Thanks :)

Komplete 5?

LindenGarcia18 — Fri, 17 May 2013 13:45:25 GMT

Was wondering is anybody knows where I could buy a copy of Native instruments komplete 5, or if anybody on here could sell me one.

I use a powermac g5, which I have no intention of upgrading as it does the job fine. The only problem is the compatibility issue with new software, so if I want komplete, I have to either go with 4 or 5, since they're the last version to support PPC processors.

Cheers!

Is there an arpeggiator that can be used on other instruments?

Bobcat — Fri, 17 May 2013 13:25:58 GMT

I'm looking for a virtual arpeggiator plugin, to use on other virtual instruments. Usually I only find one inside a synth already, isn't there something like a "standalone" plugin, which could achieve the desired effect by reading the midi notes?

I'm not sure if I explained right. But I found a great synth that I'm going to buy now, however it lacks an ARP function for me. So that's what I'm asking basically.

Itunes artist page questions

Aint Nobody — Fri, 17 May 2013 13:25:41 GMT

I've asked this of a couple aggregators, but no answer so far. I'll use the example of Daft Punk's page:

Connecting to the iTunes Store.

I'm getting shrugged shoulders back from aggregators asking about how to do something similar where there's a live stream for a limited time during album pre-order which has helped get blog after blog linking to their artist page.

I'll leave how much the utter ineptitude of the aggregators is pissing me off for another day.

Right now, I'm just wondering about some iTunes basics. The artist page features artwork that is not just the regular square artwork of an album cover. So... if you have to go through an aggregator, how do you set up an artist page. Seems to me the aggregators don't have a clue.

My understanding back when Ping was live was that there was a dashboard to set up all sorts of things like that, but now that ping is dead, how does an independent artist go about getting an artist page set up properly?

thx.

Playing live

Jobsworth — Fri, 17 May 2013 13:24:17 GMT

Ok so I am putting together an hour show of my electronic music.

I'm now thinking through the various ways to go about this.

I'm considering using Abelton, but wonder if this is really that much use compared to Cubase or Reaper.

Is it the norm to use 2 midi synced laptops? I'm a bit paranoid about relying on computers to be honest and would like to use hardware but that seems to cut out the option for multi-tracking large amounts of audio. There are plenty of loop based machines but I'm not sure that's the route I want to take, preferring to stick the arrangements I have. Or should I maybe be more relaxed about that?

Keyptown's Roland Juno 106 demo

Theodorozzz — Fri, 17 May 2013 13:23:57 GMT

Drums: AKAI MPC-1000
Voice: Fiodor Zhabskyy
ALL other sounds: Roland Juno 106 (no reverb, eq, or other effects were used)

Keyptown
www.facebook.com/keyptown

How should I equip myself next? (EDM producer)

Simblais — Fri, 17 May 2013 13:15:57 GMT

Hey guys !

I'm a electronic music producer for about 2 years now and I've equiped myself with some stuff I've found in stores here in Canada. Here is a list of what I got:

- a powerful PC
- Ableton software
- 2 monitors M-Audio Bx8a
- a Presonus Audiobox USB soundcard
- a cheap casio synth (midi controller)
- Akai MPK25 (some extra midi controller)

My connections are quite simple. my monitors are plugged in my Audiobox, my audiobox in my PC (in USB), and both of my controller are plugged in USB as well.

I fell in love with the Moog little phatty Stage 2. I wanted to buy it but before that, I must know if I need something to plug it in. My objective with the LP is to be able to integrate it in my ableton, to be able to play some notes, and record it in my software keeping the original sounds. (Not to serve as a MIDI controller)

So the question is: Considering that I'm probably going to have more and more gears, What I should get to keep my connections simple, and have some free slot to plug my future equipments?

I'm open to all kind of answers, in conjunction with the LP or not, some essential stuff a home studio should have, some extra stuff that make your studio awesome

Thank you in advance :)

Budget-minded digital mixer for post sound mixing

sonicparticle — Fri, 17 May 2013 13:03:32 GMT

Hey all

I am thinking to purchase some kind of small format digital mixing desk to stop mixing in the box for post sound and use the desk for all mixing, surround monitoring and stem recording back in to Protools and I need some advice

I currently have a Protools HD2 system (going to HD3 fairly soon), running PT8HD for the time being. But I think I am loosing so much time mixing like this plus I want to train myself to the big, post-sound house way.

The thing that I really dislike while mixing in the box is that I do not have immediate view of the EQ and compression settings and I have to open up plugin windows in order to see what is what.

Ideally, I'd like a Yamaha DM2000VCM but I think that would strain my budget a lot. Hence, I've been having my eye on a Tascam DM3200.

Has anyone used any of these two desks for that task?

If so, would you say that the built-in EQ and compression does the trick?

How many inputs should I be considering? I currently have a modest Digital 192 I/O interface but I could add another two when flipping to HD3 and run the signal to the desk with TDIF.

My Pro Tools template runs across around 128 tracks but for the time being I am trying to lay each SFX on a separate track, on per scene basis, as this minimises the automation on the SFX tracks. On busier projects I use far less sfx tracks, producing a SFX list per track, but unavoidably this method relies on a lot more in-the-box automation. I am happy to change my ways if they will create compatible sessions with what is considered to be the norm with the majority of sound-post places.

Any alternatives that I am not considering? Perhaps something with MADI that might help put all mac outside the room?

One last thing:
With Pro Tools 11 coming out, I am thinking I might ditch the option of going to HDX and get myself a Native HD system instead. But I will try to keep the current HD system, get the TC Electronic verbs and create myself an alternative TC Reverb 6000. So, whatever the desk it would need to be able to bus for that as well.

PS: I might cross post this to DUC so apologies to anyone that might be reading this twice.

Totally Enormous Extinct Dinosaurs' synths

BlaccFriday — Fri, 17 May 2013 12:57:28 GMT

Hey, so I'm currently trying to remake the song Garden by Totally Enormous Extinct Dinosaurs using Logic Pro, but getting the sound of some of the synths right is proving a bit of a task.

I saw in this thread somebody took the liberty of naming a couple of the synthesizers photographed in one of T.E.E.D's studios, and I was wondering if it was entirely necessary to go out and buy at least one of those synthesizers myself if I want to replicate that sound, not just for the remake but for my own music going forward?

Would it be better/cheaper to just download the instruments into logic or is there a really clear difference?

Thanks in advance.

Identify Spectrum Analyzer Oscilloscope

crying1986 — Fri, 17 May 2013 12:45:27 GMT

PROBLEM SOLVED...I Should have just kept watching the video. It's made by RTW.

grimm

Could someone please help me to identify the model of Spectrum Analyzer Oscilloscope that is being used by Mazen Murad in this video?

A close up is at 4:30 in.

Thank you...sorry for the dumb question. I just can't seem to figure it out.

Thanks.

FM's guide to mastering: Working with Metropolis's Mazen Murad - YouTube

Pro Tools MP9 assistance

squareal — Fri, 17 May 2013 12:37:30 GMT

Hi Guys

I've been asked by a friend to mix some of his videos. He is using Avid Media Composer. I thought I could have him send me the files in AAF or OMF format but I've discovered that MP9 doesn't have that ability even though it shows up on "Import Session Data".

I also tried to import an AAF file and it says I need DigiTranslator, which I tried but the file says that I don't have Pro Tools on my PC.

Can anybody help?
Also, if this option isn't possible, is there any other way I can receive all the video and audio data?

Cheers

New studio gear?

Captin Al — Fri, 17 May 2013 12:36:05 GMT

I've been asked by an artist to spec out some new studio gear, he doesn't really use it much and has an old Mackie 8bus 24 ch desk and some DA88s but has patch bay etc mainly used for writing.

He needs the ability to operate something simple when I'm not there, so like the X32 has a simple USB stick recording ability, so a new desk a recorder and speakers. But also the ability to start recording at the studio when I'm present, he has studio boxes and mic lines , so a new Mac running Logic/Pro Tools
So I thought of the new
X32 behringer desk and HD Native /Logic via an Appolo
or an Appolo 16 with 2x Audient 8 channel mic pre for higher quality drum tracking?

I have a major thing about suggesting Behringer for the artist though, budget is important but recording quality is essential but at the same time the ability to keep it simple. He won't use a computer for recording.

Any suggestions improvements on this setup?

What type of microphone to use for foot percussion?

justshane — Fri, 17 May 2013 12:21:45 GMT

I am working with a new solo setup that includes a type of foot percussion. Actually it is a square of wood flooring that will be placed in front of the performer and then stomped on, much like a stomp box. However, instead of the deeper bass stomp of a stomp box the performer prefers the sound of the foot stomping, the shoe on wood and all that. I would like to be able to mix that sound in with the guitar and vocals so I was going to mic it, but I am not entirely sure what type of microphone to use. I originally just thought of the old standby Shure SM57 aimed at the small square of flooring kind of from above. Then I got to thinking that maybe a microphone that is usually used for bass drums might be better. Same position, small boom above and to the side, aimed at the flooring. Probably about an 18" x 18" square of flooring. Any thoughts on the SM57 versus using a bass drum mic? Any other advice would also be GREATLY appreciated!

Small room acoustic treatment help

Freeformed — Fri, 17 May 2013 12:12:10 GMT

Hi all,

I have a room in my house with no uses, and i thought i maybe could use it as a studio.

Problem is its very small and i dont know if its too small.

Heres a picture i made, my paint skills are not great i know.

I have like 400€ to spend for acoustic treatment, i thought i could cover the entire room with rockwool, even stack it two times, and glue acoustic pyramidal foam over it.

On the corners i would go for real commercial basstraps, i found a seller that sells 100x20x20 (4 pieces) for 70€.

I am not looking for the perfect room, but neither i want spend my money if the result is bad.

Thanks and have a nice day all!

soundcraft 1624 mix fader

soniko7 — Fri, 17 May 2013 12:11:07 GMT

Hello everyone....i've broken the mix fader of my soundcraft 1624....it mount a p&g 10 k log x2.....can i replace with aphs fader or similar?in case wich model should i buy?thank you...

Buzzing sound from ferrite

jkorten — Fri, 17 May 2013 12:04:59 GMT

OK - I've recently purchased a pair of single ended triode monoblock amps (yes it's a religious thing). I had to prep my listening room by replacing a duplex outlet with a quad (used a hubble). While I was doing this I realized I had a couple of ferrites I could snap around each AC wire (hot and neutral) and they fit nice and tight. My thinking was - why not nip any RF on the AC in the bud before it even gets to the power cord. Put everything together. Sound is amazing (Audio Mirror 20W is the brand btw).

Then at the end of my listening session, music goes off. I hear a buzzing. I think "damn, one of the amps is bad!" and I turn off the amps. Still the buzzing. I go behind the speaker and realize it's coming from the quad box. So I power everything else down. Still the buzzing. Then I unplug all of the Silver Resolution (Signal Cable) power cords (seems like silver conductors is the way to go in audio). STILL BUZZING!

The outlet is daisy chained to other outlets in the apartment, feeding a few more lights on dimmers and the TV and my wife's laptop in the bedroom. No complicated motor loads on the AC line.

Can there be a change to the quality of the AC coming in to the apartment that could cause this? The buzzing stopped some time that night and I Haven't heard it since BTW. Interested in anybody's thoughts on the matter who knows more than I do about this kind of stuff.

Jerry

Using mastering speakers for mixing

dietrich10 — Fri, 17 May 2013 12:00:19 GMT

I master on a pair of Tyler D1 now and putting my 2nd mixing/synth production room back together again.

Dug through similar postings here-time for fresh thread.

Tyler Linbrooks are used for mixing. Not sure if the MM5 would work with the abuse of analog kick drums constantly at different volumes.

D

Whats in your rackmount setup?

rjo361 — Fri, 17 May 2013 11:50:31 GMT

whats in you guys' rackmounts? just curious, i'm looking to upgrade my studio and wonder if there are any new toy out there i can ***** my self over lol

Trigger RD700 with MIDI Keys?

bodyboarding_bum — Fri, 17 May 2013 11:48:48 GMT

Hello everyone!

So i'm trying to setup my Roland RD700GX with a second tier keyboard above it, which i can use to trigger sounds on the RD700.

The tier above keyboard is a Roland PCR500. I've connected the MIDI Output on the PCR500 into the MIDI Input on the RD700GX - is this right?

Then, i understand i have to use the split-zoning on the RD700 and somehow configure? Tried searching around, but couldn't find too much info. Fairly sure it's just a software setting i'm missing out on somewhere...

Cheers,
Kyle.

best mic preamp for around $300

rjo361 — Fri, 17 May 2013 11:43:49 GMT

Hey guys, i'm looking to upgrade my studio a little bit this summer and I wanted to add an mic preamp to my setup. I was wondering which one has the biggest bang for it's buck for around $300. thanks guys

So... electronica? Anyone?

ilhoonyoon — Fri, 17 May 2013 11:08:26 GMT

There doesn't seem to be anyone posting electronica songs here shiee

Well, it's been a year and a half now since I quit school/studying and started making music. Crazy, I know. :facepalm:

What can I say? I dived in. I love music, especially electronic dance music.

Occasionally, again and again, I am amazed that music can be produced completely ITB.

I was wondering what you guys all think about this short song I made.

It would mean a world if anyone could critique on what's odd about the sound in the stereo field, or you know, the overall balance of the song (higs and lows).
Although I do have a pair of monitors, they are not all that big. Also these tweeters make it sound more sharp than usual I think.

Thank you so much (in advance :lol: )!!!

https://soundcloud.com/rhychi/pain-relief

USB/PCI/Ethernet Audio Interface - Mega Noob!

martd — Fri, 17 May 2013 10:53:18 GMT

Hi All,

Apologies for my severe lack of intelligence in this field but im working on a project for an audio and data recorder in the marine industry.

The data capture is no problem but we also need to capture audio from the ship's bridge, bridge wings and VHF.

The VHF would generally give a 600ohm balanced output and we will be designing microphones to give the same.

What i need is a product that will allow me to connect 8x microphones and 2x VHF units but to also be able to (via software I guess) listen to each separate channel from the recorded files.

The decision was taken to go for the M-Audio Delta 1010 but there is a chance that production of this will cease before we would like it to - at least 5 years

Does anyone have any suggestions as to what I could use?

Sorry for the poor description, if you have any questions please feel free to shout

Thanks in advance

Martin :)

Low Pass

Weirwood — Fri, 17 May 2013 10:34:19 GMT

In what situation do you guys Low Pass a channel in a non live situation? If I was working on a kick, bass or some low brass I'd probably use a shelf instead.

Also do you ever use brickwall filters?

Mike

"Layered Kicks" - kick one-shot samples

Function Loops — Fri, 17 May 2013 10:00:43 GMT

"Layered Kicks" from Function Loops is a hand-picked collection of 60 layered kick samples, ready to melt your next tracks. Plastic , fat and crispy kicks, will definitely fill the missing element in any production. Good kicks are hard to get, so we did the job for you. Perfect for any House or Techno genres including Deep-House/Tech-House/Progressive House/Electro House/Complextro/Techno/Minimal and the list goes on. These kicks are a serious punch in the face and a pro-tool to help you start your new projects.

60 x 24-bit WAV kick one-shots.

Function Loops - Pro Audio Samples and Loops. Free Sample Packs. Music Production Tips & More.

Average age of UK festival goers now over 30 | MusicRadar

Whitecat — Fri, 17 May 2013 10:00:36 GMT

Quote:

Average age of UK festival goers now over 30 | MusicRadar

Most 18-24 year old now unable to afford to attend festivals. The average age of UK festival goers is now well over 30, according to researc

New Member

arketah1 — Fri, 17 May 2013 09:59:24 GMT

Hi Everyone,

Myself Arketah new member in gearslutz community and feeling glad by being a part of this community.

Symphony I\O and Avid thunderbolt interface for PT HDN?

Blues Bird — Fri, 17 May 2013 09:55:00 GMT

Does this work? If yes, is it stable and smooth? Or is it only possible to connect the Symphony I/O to an Avid Pro Tools Native Pci card?

Thanks for your input.

procedures for songwriters and producer relations

125 — Fri, 17 May 2013 09:41:12 GMT

hey hey,

i was wondering, do you guys send your final demos to your songwriters when its done so they can use it as a resume on their end.?

i would like to know if this is "normal" or fair. what kind of things i may encounter that's problematic, etc. by doing so?

thanks thanks :)

Voice + Piano recording

jezosaurus — Fri, 17 May 2013 09:19:40 GMT

I am going to record my classical singing class.

Upright piano + solo voice, in a fairly clangy classroom.
All voices, pieces include pop, oratorio, opera and lieder.
Some voices fairly quiet, some are MUCH louder.

I want:
- To capture the performance without getting too much room reverb or background noise
- some separation between piano and vocals so I can "lift" the local level when required
- I can't close mike the vocals

I have a Tandy PZM, Studio Electronics SE1000, Shure SM57beta, akg D119, Beyerdynamic M81, and Sennheiser evolution e835, e845, e855 and e865 that I can run into a DAW through a Roland Octacapture.

I have limited time for setup, and I'm looking for pointers as for how to best use my gear (which I normally use for a rock band) - I need to be ready to go in about an hour.

EXS24/Mainstage bug...?

Bishbashbosh — Fri, 17 May 2013 09:07:22 GMT

Hey all,

I've been using the EXS24 in Mainstage for a couple of years... Ever since I upgraded Mainstage to the version from the App store (2.2.1, then 2.2.2..?) I've been having a recurring and very irritating bug with the EXS24.
This bug was NOT apparent in the previous version of Mainstage, so I'm not sure if it's an EXS bug or Mainstage problem.

I just use it as a drum sample playback module, and it's generally only loading 5-8 short samples at a time into each EXS instance. Each sample occupies one MIDI note, and there is no layering... It's sample playback at it's most basic!

What happens is that when creating a new patch, sometimes (about 50% of the time) EXS decides that it's going to randomly loop the last few samples of a WAV... So you get the sound of the drum, then a high pitched square wave which goes on until you press space bar, or you change patch.

There appears to be no rhyme or reason to this... Yesterday I created a new patch, and dragged 5 samples into a new EXS... One sample did this, and the others were fine.
Gate time of the trigger isn't a factor as I've tried the samples triggered from pads and from a keyboard.

I've also tried re-sampling the offending sample, or changing the file format, and seem to get the same results.

Switching between 'One Shot' or not makes no difference, and obviously 'Loop' is turned off.

Altering the 'Sustain' or 'Release' master settings on the EXS can help reduce the level of the square wave... But I'd love to know if there's another workaround for this, or anything really obvious I'm missing!

If it's a known bug it's not coming up in any of the Google searches I've done..

Any thoughts on this?

I consider myself a bit of an EXS power user having made some pretty involved multi sampled patches in the past, and having something as basic as this go wrong is pretty irritating...!

Ebay is on crack

thong — Fri, 17 May 2013 08:52:19 GMT

So they have increased the fees,

there are now fees on the shipping cost

they now automaticly open a dispute if you dont respond within 2 days

and when you do try to repsond,
THEY TAKE YOU TO THE BUYERS COUNTRIES SITE,
so unless you can read say 20 languages your outta luck

I so wish there was something other than those @#$%^&*

How did you learn?

AndreBenoit — Fri, 17 May 2013 08:48:44 GMT

Hello! This is my first time in this subforum so, good morning! I'm Andre!
As my life rapidly approaches 'midlife crisis' age, I find myself thinking I should prepare for the impending stupid decisions to chase the dreams of my youth & wish to study audio electronics with a view to an eventual career change. So my question is simply, where and how did you learn to ply your trade?
Unfortunately I'm not without ties, I have a family/mortgage etc so I'm looking for anything in the 'part time distance learning' category, also any books that people consider to be their bible when it comes to this sort of thing? I'm based smack bang in the middle of the UK if that helps!
2 years ago I went back to college for a music production & commercial recording diploma, I'm about to finish building my studio & think this would be a great skill set to have so that I can repair my own gear, repair other people's gear etc. I want out of the high pressure management role I've found myself in but I know the music industry is too volatile to risk my sons future on, I think people who can fix things are in much more demand & this ties in nicely with the musical life I crave!

Andre

G1176V/K kit

Labs — Fri, 17 May 2013 08:38:43 GMT

Been working hard this month to complete another kit with an assembly manual.

https://pcbgrinder.com/

Link to the G1176 V/K

What is is?

A components kit for the Gyraf Audio G1176 Voight/Kampf edition (new revision). It is inspired by the famous 1176 FET compressor.

How do I build it?

There is a build manual avaliable for download at the bottom of the product page, and if you need help, there's a link to a discussion on the project.

What is in the kit?

PCB Set, FETs, power switch, OMEG pots, Audio switches, Opamps, All Poly-caps, All metal Film resistors (1%), All Ceramic caps, elcos and tants, Diodes, Regulators, Rectificers, Wire, Sockets for Opamps, PCB Stands.

What else do I need?

1. A case with meter and mounting hardware (I recommend a full set from Frontpanels.de if you don't want to drill your own)
2. A Toroid with 2x24 or 2x30V secondaries (110 or 220 primary) and a Lundahl LL5402.
3. A few screws, bolts, and some power cable

Gustav

First time recording guitar; how to insert live effects?

GbeTech — Fri, 17 May 2013 08:26:46 GMT

Hey everyone.

Yesterday I plugged in a friend's guitar to my M-Audio Profire 610, just via a simple PL.

I'm able to get a monitoring signal and record it, but when I insert any effect, the live signal doesn't go through it. It doesn't show in the effect at all (no insert), and obviously I can't hear the added effect.

Only after recording will it sound.

Anything I'm doing wrong here?

/EDIT
That was the Direct Monitoring in Cubase that wasn't ticked.
Thanks.

Looking for feedback

Wave_Dweller — Fri, 17 May 2013 08:24:09 GMT

Hello to you all, I'm looking for some feedback on my hip hop instrumental mixtape album, 'Amusements'. Feel free to Soundcloud quote too! Thanks in advance.

https://soundcloud.com/wave_dweller/amusements

studio construction help asap!!!!!

ryanvegas — Fri, 17 May 2013 08:19:06 GMT

hey guys, need a little help building my studio thought this would be the place to go, (sorry for no sketch up cant get the hang of it yet, have it soon)

it is a garage. about 75 ft from my house free standing not attached, im not too worried about neighbors, on the tighter side of a budget. started a little framing thats about it.

dimensions 24 ft 8 inches wide by 38 ft 10 inches long with a 13 ft ceiling that is in the shape of a triangle (so its 13 ft in the center and gradually declines in height each side)

approx 920 sq ft to work with.

there are 2 garage doors with i know will affect and i do plan to take them down.

i am mixing/recording anything from metal, indie rock to rap. mainly the first two.

i live in fl and yes it is humid.

i want a live room, bedroom and control room.

some questions i have are ....

1. the floors are cement...should i get wood or stain them or?
2. what to insulate the walls with? two leaf vs 3 or 4?
3. leave the ceiling open? (no drywall ceiling, or just leave the live room with the ceiling?)

etc....

here are the pics (some pics are to show distance from neighbors)

i apologize for the mess.

i need help quick because my contractor friend only can help me on his days off and i have to keep dodging him because i dont want to start building the wrong way then tear it down to do it the right way. boing

thanks!

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Otari cdr18 Forcing eject?

ecolleno — Fri, 17 May 2013 08:05:38 GMT

Hello:

I have an Otari CDR 18, recorder cd. The unit cannot finalize the last cd I recorded inside. I cannot eject the cd. I tried switch off ans turn on but it is impossible to take out the cd.

I have not the manual

Do you know how to forcing to eject?

thanks

What are the Circle of Fifths for?

greenlights — Fri, 17 May 2013 08:02:45 GMT

I normally pick a scale and find different chord progressions. I've read that it the way music is suppose to move?? After looking at it, I do see that some chord progressions have a relation in the Circle of Fifths. I'm confused about it saying music is suppose to move this way...

Nu-disco / deep track, free download

p00pstar — Fri, 17 May 2013 07:30:26 GMT

So, i started a nudisco project, here' a freebie for you :)

Please comment, i really need feedback. Thanks!

https://soundcloud.com/elektromekani...ocean-big-blue

Why do mixes sound... dare I say, smaller?

HSLand — Fri, 17 May 2013 06:57:10 GMT

Something I've noticed is that when I'm tracking, almost everything I've recorded sounds huge compared to albums that I like. In a way they sound smaller. Smaller, but better (more balanced and polished). Is this because of all of the compression and EQ that was applied?

I hear some saying they want this huge, large sound, but that's what I'm actually trying to combat. I understand what they mean when they say that though, I think what they're hearing is the contrast between every element in the mix which gives it that 'huge' sound. If I do an A/B comparison between a favorite pro record of mine that I THINK is really huge-sounding, and a skeleton of a mix that I did, or even just a guitar itself, mine is popping out of the speakers and the other sounds smaller.

So yeah a large sound isn't difficult for me to get, my problem is fitting everything together and making it polished. What do you think?

Using a charted film to get new work

1320 P. — Fri, 17 May 2013 06:31:39 GMT

I currently have a film released in europe, usa, and canada that is charting on iTunes and other various avenues. How would you turn this into more future work?
The film has won many awards (none for sound) and is a great story.

Obviously this is for audio post work.

Thanks for any advice!

Sent from my SGH-I747M using Tapatalk

Control room too small?

ANALogic — Fri, 17 May 2013 05:45:22 GMT

I have a 10 x 18 x 7,20 ft ceiling .

Is too small even if treated?
My monitor is Adam a7

Micing an orchestra

all new to me — Fri, 17 May 2013 05:30:15 GMT

A local orchestra is looking to archive a number of their upcoming performances. They were looking for suggestions for Low End mics. It will take place in a school theater so there will be access to the lighting rig as well for overheads.

Any suggestions would be appreciated.

Welsh's Synthesizer Cookbook?

supercool482 — Fri, 17 May 2013 05:22:26 GMT

I'm debating as to whether or not purchase welsh's synth cookbook. How useful is the information? Most importantly, are the 100 patches included worthwhile? And that leads me to my next question; what synths (vst) should I have to make these patches included with the book? Worth the purchase?

Virus Snow - 4 parts timberal enough? R

djcrugoo — Fri, 17 May 2013 05:21:43 GMT

I got myself a Virus Snow due to gear lust, I know we all been there. I haven't used it yet, but I'm wondering if 4 parts is enough? Worth it for a thousand dollars? The ti2 desktop goes for 1200 hundred more?.. Worth the extra money? I'm a bedroom producer using Cubase.. what do you think?

New room, any advice welcome

rkopald — Fri, 17 May 2013 05:09:43 GMT

The gf and I just closed on a new house, and I have a nice big room for my music now.
Alas, I have to use it as an all purpose tracking/mixing room.

But: It's big. Dimensions are below

16X9 feet
8 ft ceilings

Like I said I am going to track as well as mix in here, so..I gotta make do.

That carpet is coming out and I'm putting either new carpet or wood laminate flooring down.

Obviously I will need asbsorption and bass traps.
Also, at this point I don't know how much furniture is going to be in there
I'm thinking at least a couch.

Any advice is most appreciated.
Thanks!

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Floating Output Strip in Logic Pro 9

Defcon5 Records — Fri, 17 May 2013 05:06:49 GMT

Hey there,

The amount of tracks in my project is starting to add up and I need to scroll over to view the channel strip in order to check overall levels. Is there any way to float just the Output strip? I'd be more than happy if I could lock it on the left side of the screen but most of my tracks are bussed so, when selecting a bussed track, the bus is on the right side of the track (in the single track view to the left of the mixer window). I tried floating an environment window but the strip jumps any time I select a different track.

Any help is much appreciated...

Optimal bios settings for Audio PC

Realziment — Fri, 17 May 2013 04:43:27 GMT

Hey Guys,

Im back on PC for a bit, i messed up today installing some RAM and other new components, i knocked out a cable and couldnt boot for hours whithout knowing!! :facepalm: so I had to go into bios and reset to defaults etc, my friend initially set this PC and i know he does all the audio tweaks etc, anything inside i can generally do, but bios im new to. Any reccomendations for best bios settings i7 with Gigabyte GA-PH67A-UD3-B3 motherboard.

Much appreciated!!

Synthesizers for dummies?

ejmarcus — Fri, 17 May 2013 04:38:39 GMT

hey guys!
just trying to wrap my had around this whole thing and its not really sticking.
been looking through countless sites but nothing really starts from the start, explains what it is etc...
just wondering if anyone knows a good site where it can help me understand synthesizers?

if it helps the end goal of this is for me to try create bass synths in the nu disco/indie dance tracks.

Popular Sound in today's Music - Speeding/Pitched up Drums/Vox

Eternal_One — Fri, 17 May 2013 04:36:53 GMT

I'm attaching two audio samples of what I'm asking about from a song called 'Beam Me Up' by Cazzette.

I've been hearing a lot of this 'sound', especially in EDM music, where usually a snare drum starts speeding up and pitching up.

I'm sure the speeding up I'm referring to is just the way the snares were programmed but the pitching up is what I'm really curious about.

Does anyone have any tips on how to achieve this in Pro Tools and/or Logic? Can it be done in Pro Tools? I'm going to assume it definitely isn't achieved with vari-fi in PT.

In the audio clips I am attaching, one of the clips does what I'm referring to with not only the vocal's delay but then again with a synth (kind of in the background). The other audio clip is doing this with a synth sound as well.

So how is it done, any videos or explanations? Is it achieved the same way for vocals, synths, snares, or whatever sound you would pick?

Thanks.

Attached Files

	2.mp3 (484.6 KB)
	1.mp3 (440.7 KB)

Summing with D-Box question

datapeddler — Fri, 17 May 2013 04:34:09 GMT

Guys
I know this may be an obvious question but im new to summing boxes. I just picked one up a dangerous music d-box & ran a mono vocal through input one. I only heard it on my left speaker. I switched to the 2nd channel & only the right speaker became audible. So the only way to center mono recordings like a kick drum or vocal is by using inputs 7 or 8 since D-Box only has pan knobs on these inputs to center the signal with?? If so has this lack of panning control from 1-6 caused you any mixing problems?

Thanks

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