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| Gas Prices [message #56897] |
Mon, 15 August 2005 05:23  |
Mike ClMike Claytor
Messages: 52
Registered: July 2005
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v//Z
---=_linux4300894e--Yes, Deej. We wants our precious.
Jimmy
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
news:42ff588a@linux...
> hey dj what ever happend to the hardware modules you were working on?
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:42fec453@linux...
> > Chuck,
> >
> > Any news at all on this? Is it possible that any or all of these will
> > work,
> > even sorta'kinda'maybesometimes ?
> >
> > Thanks,
> >
> > DJ
> >
> >
>
>This Wormhole stuff is a question for Gene Lennon and/or Dimitrios. I've
never tried it. I do know a little about Lava Lamps though.
;o)
"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
news:43004a41$1@linux...
> Ask Deej; he'll know for sure. Hey, and while your at it, I think you
> should find some place in your loops to insert a nice warm sounding 70's
> lavalamp.... reddish orange would probably sound good.
>
> Global Master Out,
> Dubya
>
> (all written "tongue-in-cheek" I assure you).
>
>
> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
> news:42ff5fda@linux...
> > Global Master Outs to the ADAT lightpipe outs
> > Hard Loop from ADAT lightpipe Out to ADAT lightpipe In
> > ADAT lightpipe In to Tacks 15 & 16 (L&R respectively)
> > Mute Tracks 15 &16 and Insert instance of Wormhole on each track
> > Open WaveLab and Or CoolEdit Pro and Insert Wormhole on two new tracks
> > (L&R)
> > Use VST/DX plugs from within and bounce inside the second app. Should
not
> > loose any PARIS sound since Digital transfer correct?
> > Then go SPDIF out to converter to XLR for my monitors
> >
> > This is all on one machine.
> >
> > Possible?????
> >
> > I don't know if wormhole works like this or if I can hard loop on ADAT
> > like that without clocking.
> >
> >
>
>Does *anything* in the Paris system operate in a 16 bit environment?
(Primarily in the software.) If it does, can I use the 64 bit processor?
Spappy14.6 mpg in the bmw is hurtin me...
I might have to 'upgrade' to one of those 250mpg modified prius' with the
extra batteriesAre mixers and effects ever going to get where the inputs are optical
and you just send optical from your guitar processor / effect processor
to the the mixer over fiber? Current technology seems so 80's.
John"Rich Lamanna" <richard.lamanna@verizon.net> wrote:
>Jason, whose playing with you? I'm up in Albany but will try to make a trip
Myself-keys
Aaron heick-sax
Dominic Faranacci-trumpet
Josh Dion -Drums
Sherrod Barnes-Guitar
Jonathan Maron-Bass
DJ Logic-Turntables
Peace, JMthe only thing that comforts me is that all our refineries are having
problems at the same time and are getting a huge tax break to help
them out during these record profit times...thank god...our government
is there to help.
On 15 Aug 2005 22:23:42 +1000, "mike claytor" <claytor@nospam.com>
wrote:
>"I do know a little about Lava Lamps though"
but isn't that an inhale deeply and forget thing???
On Mon, 15 Aug 2005 09:13:53 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>This Wormhole stuff is a question for Gene Lennon and/or Dimitrios. I've
>never tried it. I do know a little about Lava Lamps though.
>
>;o)
>
>"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
>news:43004a41$1@linux...
>> Ask Deej; he'll know for sure. Hey, and while your at it, I think you
>> should find some place in your loops to insert a nice warm sounding 70's
>> lavalamp.... reddish orange would probably sound good.
>>
>> Global Master Out,
>> Dubya
>>
>> (all written "tongue-in-cheek" I assure you).
>>
>>
>> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
>> news:42ff5fda@linux...
>> > Global Master Outs to the ADAT lightpipe outs
>> > Hard Loop from ADAT lightpipe Out to ADAT lightpipe In
>> > ADAT lightpipe In to Tacks 15 & 16 (L&R respectively)
>> > Mute Tracks 15 &16 and Insert instance of Wormhole on each track
>> > Open WaveLab and Or CoolEdit Pro and Insert Wormhole on two new tracks
>> > (L&R)
>> > Use VST/DX plugs from within and bounce inside the second app. Should
>not
>> > loose any PARIS sound since Digital transfer correct?
>> > Then go SPDIF out to converter to XLR for my monitors
>> >
>> > This is all on one machine.
>> >
>> > Possible?????
>> >
>> > I don't know if wormhole works like this or if I can hard loop on ADAT
>> > like that without clocking.
>> >
>> >
>>
>>
>huh?????
"rick" <parnell68@hotmail.com> wrote in message
news:iut1g15mjl6tq0j32fur8r5havd4kb72v9@4ax.com...
> "I do know a little about Lava Lamps though"
>
> but isn't that an inhale deeply and forget thing???
>
> On Mon, 15 Aug 2005 09:13:53 -0600, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> >This Wormhole stuff is a question for Gene Lennon and/or Dimitrios. I've
> >never tried it. I do know a little about Lava Lamps though.
> >
> >;o)
> >
> >"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
> >news:43004a41$1@linux...
> >> Ask Deej; he'll know for sure. Hey, and while your at it, I think you
> >> should find some place in your loops to insert a nice warm sounding
70's
> >> lavalamp.... reddish orange would probably sound good.
> >>
> >> Global Master Out,
> >> Dubya
> >>
> >> (all written "tongue-in-cheek" I assure you).
> >>
> >>
> >> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
> >> news:42ff5fda@linux...
> >> > Global Master Outs to the ADAT lightpipe outs
> >> > Hard Loop from ADAT lightpipe Out to ADAT lightpipe In
> >> > ADAT lightpipe In to Tacks 15 & 16 (L&R respectively)
> >> > Mute Tracks 15 &16 and Insert instance of Wormhole on each track
> >> > Open WaveLab and Or CoolEdit Pro and Insert Wormhole on two new
tracks
> >> > (L&R)
> >> > Use VST/DX plugs from within and bounce inside the second app. Should
> >not
> >> > loose any PARIS sound since Digital transfer correct?
> >> > Then go SPDIF out to converter to XLR for my monitors
> >> >
> >> > This is all on one machine.
> >> >
> >> > Possible?????
> >> >
> >> > I don't know if wormhole works like this or if I can hard loop on
ADAT
> >> > like that without clocking.
> >> >
> >> >
> >>
> >>
> >
>I am thinking of putting together a new system with a magma chassis for Paris, and am looking at the following:
http://usa.asus.com/prog/spec.asp?m=S-presso&langs=09
Does anyone know if this board would work with Paris?
All my experience has been with AMD processors and Paris, so this is new territory.
Any thoughts are appreciated.
Cheers,
TCNigeria ca
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| Re: Gas Prices [message #56910 is a reply to message #56909] |
Mon, 15 August 2005 17:27  |
Martin Harrington
Messages: 560
Registered: September 2005
|
Senior Member |
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uch as the fact
> that
> Nigeria is an oil *exporting* country. It may
> have an actual surplus of oil, per capita and it's also possible that
> there
> are subsidized or artificial price controls on domestic production due to
> the royalty structuring of the operating agreements with the corporations
> who are producing the oil, in other words, Nigeria's royalties may be
> taken
> *in kind* rather than *in cash* or a combination of both, which could,
> given
> very productive wells, create an actual oil surplus within it's borders. I
> have4n't studied this so it's pure speculation on my part and may be
> woron,
> but the above scenarios are definitely possible. If we were producing more
> oil than we could use here, it would be cheap too.
>
> Deej
>
> "justcron" <justcron@hydrorecords.compound> wrote in message
> news:43013501@linux...
>> Amigo, but how does that actually explain the low price of gas there?
>>
>> "TC" <tc@spammetodeathyoubastards.org> wrote in message
>> news:43012e4a@linux...
>> > Sure, but can the average Nigerian pay that? Or even afford a car?
> That's
>> > probably a
>> > pretty small token gesture for what the oil companies get in return for
>> > the exploitation
>> > of Nigeria.. although I am sure the government officials do well..
>> >
>> > Cheers,
>> >
>> > TC
>> >
>
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| Re: Gas Prices [message #56912 is a reply to message #56911] |
Mon, 15 August 2005 17:39 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
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t="_blank">http://www.informationclearinghouse.info/article4066.htm
> http://web.amnesty.org/library/Index/ENGAFR440232004?open&am p;of=ENG-NGA
>
> justcron wrote:
>> In otherwise the energy companies jack it to exactly the level that the
>> civilians can afford?
>>
>> Man, thats exploitation accross the globe.No problem.
Fucking sickening isn't it? It's pretty hard to watch that whole doc and not lose all faith in humanity.
Cheers,
TC
justcron wrote:
> Amy Goodman is my hero.
>
> Thanks
>
> "TC" <tc@spammetodeathyoubastards.org> wrote in message
> news:43013955$1@linux...
>
>>Here's some interesting reading and listening.
>>Well... between the tar sands project and the millions of
holes in the ground around this province, Alberta is in that
boat. Record profits here for the oil patch. Our regular
gas here in Calgary is at $0.99 Can/Litre which equals
$3.11951 US/US Gallon.
We also produce WAY more Natural Gas than our Country can
use so we sell at *least* half to the US. My
"locked-in-as-of-two-years-ago" gas rate is $6.85 Can/GJ.
The funny part about that is that my gas "cost" for last
month (middle of summer) was $6.64, but they charged me
$15.98 in assorted fees (Fixed charge, Variable charge,
Production Rider, Storage Rider and Franchise fee). These
fees go up with the gas bill, so they aren't fixed.
The oil companies have us by the "short and curlies"... and
they know it. :-\
David.
DJ wrote:
> There are lots of *possible* explanations.............such as the fact that
> Nigeria is an oil *exporting* country. It may
> have an actual surplus of oil, per capita and it's also possible that there
> are subsidized or artificial price controls on domestic production due to
> the royalty structuring of t
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| Re: Gas Prices [message #56913 is a reply to message #56911] |
Mon, 15 August 2005 17:47 |
Deej [1]
Messages: 2149
Registered: January 2006
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Senior Member |
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he operating agreements with the corporations
> who are producing the oil, in other words, Nigeria's royalties may be taken
> *in kind* rather than *in cash* or a combination of both, which could, given
> very productive wells, create an actual oil surplus within it's borders. I
> have4n't studied this so it's pure speculation on my part and may be woron,
> but the above scenarios are definitely possible. If we were producing more
> oil than we could use here, it would be cheap too.
>
> Deej
>
> "justcron" <justcron@hydrorecords.compound> wrote in message
> news:43013501@linux...
>
>>Amigo, but how does that actually explain the low price of gas there?
>>
>>"TC" <tc@spammetodeathyoubastards.org> wrote in message
>>news:43012e4a@linux...
>>
>>>Sure, but can the average Nigerian pay that? Or even afford a car?
>
> That's
>
>>>probably a
>>>pretty small token gesture for what the oil companies get in return for
>>>the exploitation
>>>of Nigeria.. although I am sure the government officials do well..
>>>
>>>Cheers,
>>>
>>>TC
>>>
>>>justcron wrote:
>>>
>>>>Nigeria can get gas for 38 cents a gallon, but we gotta pay 10 times
>>>>that??? BULLSHIT
>>>>http://money.cnn.com/pf/features/lists/global_gasprices/
>>>>
>>>>"rick" <parnell68@hotmail.com> wrote in message
>>>>news:dot1g1l42vkrb7l298ddn399lpbl55gro3@4ax.com...
>>>>
>>>>
>>>>>the only thing that comforts me is that all our refineries are having
>>>>>problems at the same time and are getting a huge tax break to help
>>>>>them out during these record profit times...thank god...our government
>>>>>is there to help.
>>>>>
>>>>>On 15 Aug 2005 22:23:42 +1000, "mike claytor" <claytor@nospam.com>
>>>>>wrote:
>>>>>
>>>>>
>>>>
>
>I'm needing to get pretty anal retentive with this stuff these days. I'm
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| Re: Gas Prices [message #56915 is a reply to message #56913] |
Mon, 15 August 2005 18:28 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
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accumulate.
I'm really feelin' the need to get my head around the finer points of this
craft if I'm going to make a go of this. A huge part of this is soundstaging
and needing to spend the time to do much more than just pan a reverb send
here and there to create a semblance of realism. To that end I've been doing
a bit of research and I'm beginning some more in depth experimentation with
this. I just want to make sure that my methodology is somewhat sound and
that I'm not tilting at windmills here. I've got a full plate so though I'd
like to be able to spend the next 6 months floundering around learning by
making mistakes (my normal MO), but I don't seem to have that luxury right
now.
I figure that if I've got a group of musicians on a stage 50' wide, then
each panning increment in the 100-100 L/R spread equals 0.25' so for every
4 increments, I'm moving the performer to the left or right by 1'. For
example, if I wanted to position the band members within a space 30' across,
then from the center, to place the guitarist 15' to stage left, I would pan
him left to 60.
This would theoretically put him 10' from the closest wall and 35' from the
farthest wall.
Now a few questions about early reflections and predelay and soundstaging in
general, as follows:
1. If I'm using a stereo reverb, since the performer is stage left at pan
position 60, I would pan the reverb return to stage right 60 and set the
ER's for the right side to around 35ms and the ER's to the left to around
10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
original signal. This woulld theoretically give me a basic two dimensional
(L/R) location of the musician in an ambient space, right?
Also, do you pan the reverb send to mirror the return? I'm just not getting
this for some reason. Seems that panning the send does nothing. Maybe I'm
just too overwhelmed at the moment to notice.
2. In order to get the front/back positioning of the musician relative to
the other band members and the front/back of the room, using predealy would
provide some dimensional space........right? what I'm not clear about is
whether the predelay should be set for positioning the performers relative
to the fall of the space that is farthest from them or from the wall that is
behind them. I know that since they are broadcasting into the room, that the
front makes sense, but music travels all directions and it seems it would
make smoe sense to at least take the back wall into consideration.
Also, I'm thinking that using actual short (2-3 ms delays) between the
instruments/performers themselves would help to create some sense of
relative front-to-back relational spatiality.
I'm working mostly with acoustic musicians, some drums, but very little in
the way of special FX like phaser/chorus/synth stuff,..........just trying
to create a realistic optimal and dimensionally realistic space for the
performance.
How big a soundstage is generally used for commercial studio projects? I
know it's all relative, but if there is some sxort of *go-by* here that is
an accepted standard, I'd like to know.
Thanks for indulging my ignorance and enlightening me..Also, I've got an MP3
of a mix that I did last night that I'd like to get some of your opinions
on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
the soundstage I created for it is small.......around 30' wide. I was trying
to get an intimate, realistic feeling to this as it was tracked live in my
studio wit
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| Re: Gas Prices [message #56918 is a reply to message #56913] |
Mon, 15 August 2005 18:45 |
audioguy_nospam_
Messages: 60
Registered: June 2005
|
Member |
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and
the
> rather limited and haphazard education and experience I've managed to
> accumulate.
>
> I'm really feelin' the need to get my head around the finer points of this
> craft if I'm going to make a go of this. A huge part of this is
soundstaging
> and needing to spend the time to do much more than just pan a reverb send
> here and there to create a semblance of realism. To that end I've been
doing
> a bit of research and I'm beginning some more in depth experimentation
with
> this. I just want to make sure that my methodology is somewhat sound and
> that I'm not tilting at windmills here. I've got a full plate so though
I'd
> like to be able to spend the next 6 months floundering around learning by
> making mistakes (my normal MO), but I don't seem to have that luxury right
> now.
>
> I figure that if I've got a group of musicians on a stage 50' wide, then
> each panning increment in the 100-100 L/R spread equals 0.25' so for
every
> 4 increments, I'm moving the performer to the left or right by 1'. For
> example, if I wanted to position the band members within a space 30'
across,
> then from the center, to place the guitarist 15' to stage left, I would
pan
> him left to 60.
>
> This would theoretically put him 10' from the closest wall and 35' from
the
> farthest wall.
>
> Now a few questions about early reflections and predelay and soundstaging
in
> general, as follows:
>
> 1. If I'm using a stereo reverb, since the performer is stage left at pan
> position 60, I would pan the reverb return to stage right 60 and set the
> ER's for the right side to around 35ms and the ER's to the left to around
> 10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
> original signal. This woulld theoretically give me a basic two dimensional
> (L/R) location of the musician in an ambient space, right?
>
> Also, do you pan the reverb send to mirror the return? I'm just not
getting
> this for some reason. Seems that panning the send does nothing. Maybe I'm
> just too overwhelmed at the moment to notice.
>
> 2. In order to get the front/back positioning of the musician relative to
> the other band members and the front/back of the room, using predealy
would
> provide some dimensional space........right? what I'm not clear about is
> whether the predelay should be set for positioning the performers relative
> to the fall of the space that is farthest from them or from the wall that
is
> behind them. I know that since they are broadcasting into the room, that
the
> front makes sense, but music travels all directions and it seems it would
> make smoe sense to at least take the back wall into consideration.
>
> Also, I'm thinking that using actual short (2-3 ms delays) between the
> instruments/performers themselves would help to create some sense of
> relative front-to-back relational spatiality.
>
> I'm working mostly with acoustic musicians, some drums, but very little in
> the way of special FX like phaser/chorus/synth stuff,..........just trying
> to create a realistic optimal and dimensionally realistic space for the
> performance.
>
> How big a soundstage is generally used for commercial studio projects? I
> know it's all relative, but if there is some sxort of *go-by* here that is
> an accepted standard, I'd like to know.
>
> Thanks for indulging my ignorance and enlightening me..Also, I've got an
MP3
> of a mix that I did last night that I'd like to get some of your opinions
> on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
> the soundstage I created for it is small.......around 30' wide. I was
trying
> to get an intimate, realistic feeling to this as it was tracked live in my
> studio with 10 open mics.
>
> I
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| Re: Gas Prices [message #56922 is a reply to message #56918] |
Mon, 15 August 2005 20:01 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
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>
>
> Too much trouble for not enough benefit... try thinning for
> distance instead. Leave the arrival time intact, it will
> help to maintain the "impact" of the piece..
>
> >
> > I'm working mostly with acoustic musicians, some drums, but very little
in
> > the way of special FX like phaser/chorus/synth stuff,..........just
trying
> > to create a realistic optimal and dimensionally realistic space for the
> > performance.
> >
> > How big a soundstage is generally used for commercial studio projects? I
> > know it's all relative, but if there is some sxort of *go-by* here that
is
> > an accepted standard, I'd like to know.
>
> I think only classical people would get really fussy about
> this stuff... Don??? I think for your type of projects, you
> won't have to get too crazy with sound stage. The two
> things you have going for you in a stereo mix are position
> and timbre. Make sonic "holes" for different instruments to
> sit in. What sounds killer in a mix will often sound weak
> or stale soloed. Don't make your EQ decisions in solo
> mode... always tweak it with other instruments going. Make
> it louder than it's surroundings to make EQ judgments, then
> pull it way down in the mix and bring up slowly to taste.
> You should find that the instrument is more audible at a
> lower volume or fader level. If you are struggling to hear
> it and the meters are pegged, your tone is off.
>
> >
> > Thanks for indulging my ignorance and enlightening me..Also, I've got an
MP3
> > of a mix that I did last night that I'd like to get some of your
opinions
> > on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
> > the soundstage I created for it is small.......around 30' wide. I was
trying
> > to get an intimate, realistic feeling to this as it was tracked live in
my
> > studio with 10 open mics.
>
> Keep in mind, intimate means CLOSE... this means full sounds
> and WIDE panning as they would be literally right in front
> of you. I really think you are overANALizing things too
> far... Can you hear all the instruments clearly? Do they
> sound pleasing in the mix? Is there some "space or air"
> around the instruments (not piled on top of each other
> acoustically). Is there some "ear-candy" present (subtle,
> but not instantly audible).
>
> I may be way off base to what others do, so take this with a
> truck-load of salt! ;-)
>
> My $.02
>
> David.
>
> >
> > I'd be glad to e-mail it to those here who would be willing to critique
it.
> >
> > TIA for the enlightenment.
> >
> > ;o)
> >
> > DeejDeej, you are waaaay out in left field as far as I am concerned. I'm not
sure if you're missing the point entirely, or simply much, much smarter than
me. But I'm an artist, not an engineer, so what do I know? Nothing, I
suppose.
To me, that's the thing about being an engineer that would scare the shit
out of me: the idea that I've got to do anything more complicated than push
a few faders up, or tweak one band of EQ on a few channels, lordy! I
wouldn't know what to do as an engineer if the band I was recording didn't
make it sound magical mostly all by themselves. To me, an engineer shouldn't
have to worry about much besides mic placement and gain staging.
But I don't engineer for a living, so I should probably shut up.
Jimmy
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:4301580a$1@linux...
> Thanks Dave,
>
> I do have 3 x discrete stereo reverbs, plus, I thought the Paris reverbs
> were *true* stereo. So your thinking is more along the lines of the not
> screwing around with the L/R early reflections? (your reply referred to
> predealys but i think you may have meant ER's)
>
> Rolling off the HF of the return makes sense to me. I get your drift on
this
> one........and also carving out the space with EQ, of course.
>
> I appreciate your feedback on this. The devil's always in the details, but
> Mr. Simplicity can *always* make things harder and more complicated than
> they need to be.
>
> ;o)
>
> "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote in message
> news:43014e3c$1@linux...
> > OK, a few thoughts... below.
> >
> > DJ wrote:
> >
> > <snip>
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