Home » The PARIS Forums » PARIS: Main » Thoughts from the wife vis-a-vis Paris vs Cubase SX.
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74177 is a reply to message #74174] |
Mon, 16 October 2006 10:08   |
TCB
Messages: 1261
Registered: July 2007
|
Senior Member |
|
|
Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
because you wouldn't be mixing to its strengths. To get it sounding more
PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
master mix bus with relatively 'gentle' mastering type settings. Then don't
look at them AT ALL and work on a mix for an hour or two. No peeking! Then
when you have the mix sounding nice and fat and rich go check how much is
going on with the master fader f/x.
Report back with your findings,
TCB
"DJ" <notachance@net.net> wrote:
>OK,
>
>First of all, my wife has the best ears in the family. I "always" get her
>blessing on mixes because I know I can trust her ears. It's literally like
>having an mastering engineer in the studio. Her ears are incredibly
>good/sensitive and she's always right. Amy hasn't ventured up to the studio
>all weekend while I've been in my mad scientist mode and has been waiting
>for me to get my head around getting a mix together for her to listen to
in
>SX.
>
>So I get something happening that I think sounds good and call her up to
>give it a listen. I like it personally and I'm rocking out with my Steinberg
>Houston controller, fader automation....all the cool bells and whistles.
>System is running perfectly, etc. etc. I'm even thinking that I can use
this
>one for a while to see if I'll even need a more powerful rig it's soooo
>stable. I'm feeling like I've finally found something I can live with
>here.........soooooo.........she comes in to the control room and I start
>playing back this 30+ track project.
>
>
>Amy doesn't know squat about the finer points of recording/processing, etc.
>she just knows what she likes and doesn't give a flip about what it takes
to
>achieve it............so she's sitting there through the first half of the
>song and I can see a little frown start. She looks at me and says "is that
>midi?........what's going on with this????.........it sounds like it's midi
>or something ......... sort of artificial...... and the whole thing sounds
>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>system......what's wrong with it? Why are we changing?"
>
>Now this is coming from someone who would "love" to see me simplify things
>around here as you guys can well imagine.
>
>OK.........so I guess I'll try the Pulsar
>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>
>;oP
>
>
>
>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74178 is a reply to message #74177] |
Mon, 16 October 2006 10:22 |
John [1]
Messages: 2229
Registered: September 2005
|
Senior Member |
|
|
I think you are right TCB. I hope DJ can be saved from the mad
scientist eternity. hehe
TCB wrote:
> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
> whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
> because you wouldn't be mixing to its strengths. To get it sounding more
> PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
> master mix bus with relatively 'gentle' mastering type settings. Then don't
> look at them AT ALL and work on a mix for an hour or two. No peeking! Then
> when you have the mix sounding nice and fat and rich go check how much is
> going on with the master fader f/x.
>
> Report back with your findings,
>
> TCB
>
> "DJ" <notachance@net.net> wrote:
>> OK,
>>
>> First of all, my wife has the best ears in the family. I "always" get her
>> blessing on mixes because I know I can trust her ears. It's literally like
>> having an mastering engineer in the studio. Her ears are incredibly
>> good/sensitive and she's always right. Amy hasn't ventured up to the studio
>> all weekend while I've been in my mad scientist mode and has been waiting
>> for me to get my head around getting a mix together for her to listen to
> in
>> SX.
>>
>> So I get something happening that I think sounds good and call her up to
>> give it a listen. I like it personally and I'm rocking out with my Steinberg
>> Houston controller, fader automation....all the cool bells and whistles.
>> System is running perfectly, etc. etc. I'm even thinking that I can use
> this
>> one for a while to see if I'll even need a more powerful rig it's soooo
>> stable. I'm feeling like I've finally found something I can live with
>> here.........soooooo.........she comes in to the control room and I start
>> playing back this 30+ track project.
>>
>>
>> Amy doesn't know squat about the finer points of recording/processing, etc.
>> she just knows what she likes and doesn't give a flip about what it takes
> to
>> achieve it............so she's sitting there through the first half of the
>> song and I can see a little frown start. She looks at me and says "is that
>> midi?........what's going on with this????.........it sounds like it's midi
>> or something ......... sort of artificial...... and the whole thing sounds
>> harsh to me. Sorry honey but that's not gonna' work. I liked the old
>> system......what's wrong with it? Why are we changing?"
>>
>> Now this is coming from someone who would "love" to see me simplify things
>> around here as you guys can well imagine.
>>
>> OK.........so I guess I'll try the Pulsar
>> thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>
>> ;oP
>>
>>
>>
>>
>>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74179 is a reply to message #74177] |
Mon, 16 October 2006 10:22 |
EK Sound
Messages: 939
Registered: June 2005
|
Senior Member |
|
|
Some truth to this... I had a producer here the other month that
wouldn't let me start mixing until I had a multiband comp stuck on the
2 bus. First time I had ever mixed with a comp in the path... sure
changed the way the mix came out.
David.
TCB wrote:
> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
> whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
> because you wouldn't be mixing to its strengths. To get it sounding more
> PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
> master mix bus with relatively 'gentle' mastering type settings. Then don't
> look at them AT ALL and work on a mix for an hour or two. No peeking! Then
> when you have the mix sounding nice and fat and rich go check how much is
> going on with the master fader f/x.
>
> Report back with your findings,
>
> TCB
>
> "DJ" <notachance@net.net> wrote:
>
>>OK,
>>
>>First of all, my wife has the best ears in the family. I "always" get her
>>blessing on mixes because I know I can trust her ears. It's literally like
>>having an mastering engineer in the studio. Her ears are incredibly
>>good/sensitive and she's always right. Amy hasn't ventured up to the studio
>>all weekend while I've been in my mad scientist mode and has been waiting
>>for me to get my head around getting a mix together for her to listen to
>
> in
>
>>SX.
>>
>>So I get something happening that I think sounds good and call her up to
>>give it a listen. I like it personally and I'm rocking out with my Steinberg
>>Houston controller, fader automation....all the cool bells and whistles.
>>System is running perfectly, etc. etc. I'm even thinking that I can use
>
> this
>
>>one for a while to see if I'll even need a more powerful rig it's soooo
>>stable. I'm feeling like I've finally found something I can live with
>>here.........soooooo.........she comes in to the control room and I start
>>playing back this 30+ track project.
>>
>>
>>Amy doesn't know squat about the finer points of recording/processing, etc.
>>she just knows what she likes and doesn't give a flip about what it takes
>
> to
>
>>achieve it............so she's sitting there through the first half of the
>>song and I can see a little frown start. She looks at me and says "is that
>>midi?........what's going on with this????.........it sounds like it's midi
>>or something ......... sort of artificial...... and the whole thing sounds
>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>>system......what's wrong with it? Why are we changing?"
>>
>>Now this is coming from someone who would "love" to see me simplify things
>>around here as you guys can well imagine.
>>
>>OK.........so I guess I'll try the Pulsar
>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>
>>;oP
>>
>>
>>
>>
>>
>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74180 is a reply to message #74177] |
Mon, 16 October 2006 10:31 |
animix
Messages: 356
Registered: September 2006
|
Senior Member |
|
|
I did have a Fairchild and the PL on the master bus. I discovered that one
last night. I may need to play with the settings some more. Using the
Fairchild and the PL what I was talking in a post last night about how I
thought I could achieve *something similar using certain processors*.
I'm going to plug away at this over the next few months. I realize that I
don't have much in the way of chops when it comes to getting the most out of
this system so I'm not giving up on it, but the Pulsar sounds like a nice
option to have and I'm going to carefully reassemble my Paris system over
the course of this week, paying careful attention to some details as far as
cabling/clocking are concerned. We're getting ready to start tracking a
bunch of Amy's songs for her CD and if Amy wants to use Paris, that's what's
gonna' happen.
;o)
"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>
> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
> whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
> because you wouldn't be mixing to its strengths. To get it sounding more
> PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
> master mix bus with relatively 'gentle' mastering type settings. Then
don't
> look at them AT ALL and work on a mix for an hour or two. No peeking! Then
> when you have the mix sounding nice and fat and rich go check how much is
> going on with the master fader f/x.
>
> Report back with your findings,
>
> TCB
>
> "DJ" <notachance@net.net> wrote:
> >OK,
> >
> >First of all, my wife has the best ears in the family. I "always" get her
> >blessing on mixes because I know I can trust her ears. It's literally
like
> >having an mastering engineer in the studio. Her ears are incredibly
> >good/sensitive and she's always right. Amy hasn't ventured up to the
studio
> >all weekend while I've been in my mad scientist mode and has been waiting
> >for me to get my head around getting a mix together for her to listen to
> in
> >SX.
> >
> >So I get something happening that I think sounds good and call her up to
> >give it a listen. I like it personally and I'm rocking out with my
Steinberg
> >Houston controller, fader automation....all the cool bells and whistles.
> >System is running perfectly, etc. etc. I'm even thinking that I can use
> this
> >one for a while to see if I'll even need a more powerful rig it's soooo
> >stable. I'm feeling like I've finally found something I can live with
> >here.........soooooo.........she comes in to the control room and I start
> >playing back this 30+ track project.
> >
> >
> >Amy doesn't know squat about the finer points of recording/processing,
etc.
> >she just knows what she likes and doesn't give a flip about what it takes
> to
> >achieve it............so she's sitting there through the first half of
the
> >song and I can see a little frown start. She looks at me and says "is
that
> >midi?........what's going on with this????.........it sounds like it's
midi
> >or something ......... sort of artificial...... and the whole thing
sounds
> >harsh to me. Sorry honey but that's not gonna' work. I liked the old
> >system......what's wrong with it? Why are we changing?"
> >
> >Now this is coming from someone who would "love" to see me simplify
things
> >around here as you guys can well imagine.
> >
> >OK.........so I guess I'll try the Pulsar
> >thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
> >
> >;oP
> >
> >
> >
> >
> >
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74184 is a reply to message #74180] |
Mon, 16 October 2006 10:39 |
Neil
Messages: 1645
Registered: April 2006
|
Senior Member |
|
|
Deej... stick this on the master buss all by itself... no
coloration, extremely transparent... you're probably getting a
lot of coloration with the Fairchild.
http://www.x-buz.com/BuzMaxi3_download.html
and it's FREEE!!!!!!!!
(all of youse guys oughta download this baby)
Neil
"DJ" <notachance@net.net> wrote:
>I did have a Fairchild and the PL on the master bus. I discovered that one
>last night. I may need to play with the settings some more. Using the
>Fairchild and the PL what I was talking in a post last night about how I
>thought I could achieve *something similar using certain processors*.
>
>I'm going to plug away at this over the next few months. I realize that
I
>don't have much in the way of chops when it comes to getting the most out
of
>this system so I'm not giving up on it, but the Pulsar sounds like a nice
>option to have and I'm going to carefully reassemble my Paris system over
>the course of this week, paying careful attention to some details as far
as
>cabling/clocking are concerned. We're getting ready to start tracking a
>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's what's
>gonna' happen.
>;o)
>
>
>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>>
>> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
>> whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
>> because you wouldn't be mixing to its strengths. To get it sounding more
>> PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
>> master mix bus with relatively 'gentle' mastering type settings. Then
>don't
>> look at them AT ALL and work on a mix for an hour or two. No peeking!
Then
>> when you have the mix sounding nice and fat and rich go check how much
is
>> going on with the master fader f/x.
>>
>> Report back with your findings,
>>
>> TCB
>>
>> "DJ" <notachance@net.net> wrote:
>> >OK,
>> >
>> >First of all, my wife has the best ears in the family. I "always" get
her
>> >blessing on mixes because I know I can trust her ears. It's literally
>like
>> >having an mastering engineer in the studio. Her ears are incredibly
>> >good/sensitive and she's always right. Amy hasn't ventured up to the
>studio
>> >all weekend while I've been in my mad scientist mode and has been waiting
>> >for me to get my head around getting a mix together for her to listen
to
>> in
>> >SX.
>> >
>> >So I get something happening that I think sounds good and call her up
to
>> >give it a listen. I like it personally and I'm rocking out with my
>Steinberg
>> >Houston controller, fader automation....all the cool bells and whistles.
>> >System is running perfectly, etc. etc. I'm even thinking that I can use
>> this
>> >one for a while to see if I'll even need a more powerful rig it's soooo
>> >stable. I'm feeling like I've finally found something I can live with
>> >here.........soooooo.........she comes in to the control room and I start
>> >playing back this 30+ track project.
>> >
>> >
>> >Amy doesn't know squat about the finer points of recording/processing,
>etc.
>> >she just knows what she likes and doesn't give a flip about what it takes
>> to
>> >achieve it............so she's sitting there through the first half of
>the
>> >song and I can see a little frown start. She looks at me and says "is
>that
>> >midi?........what's going on with this????.........it sounds like it's
>midi
>> >or something ......... sort of artificial...... and the whole thing
>sounds
>> >harsh to me. Sorry honey but that's not gonna' work. I liked the old
>> >system......what's wrong with it? Why are we changing?"
>> >
>> >Now this is coming from someone who would "love" to see me simplify
>things
>> >around here as you guys can well imagine.
>> >
>> >OK.........so I guess I'll try the Pulsar
>> >thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>> >
>> >;oP
>> >
>> >
>> >
>> >
>> >
>>
>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74190 is a reply to message #74180] |
Mon, 16 October 2006 11:54 |
TCB
Messages: 1261
Registered: July 2007
|
Senior Member |
|
|
Obviously no reason to disturb domestic tranquility, but my point wasn't that
you should use any particular plugs or stuff when you're really mixing. Maybe
you should use none across the 2 bus, maybe you should use four graduated
compressors and a limiter (I've done that, believe it or not). My point was
to learn something about how you mix using PARIS. When I used it I did a
lot of things that are kinda not right for most digital systems. We've argued
a billion lines of posts about why and how that's possible inside PARIS.
What I'm talking about is behavorial not sonic, find out how much you've
been using the specialized clipping in PARIS as an 'effect' which is what
I think it is. When I switched from PARIS I did this stuff until I settled
in on a way to work the stuff well for me, my type(s) of music, and my software.
Turns out I was using PARIS clipping _lots_ for almost everything.
All of this I say because if anything a multi-EDS card system should have
MORE sonic anamolies that a civilian would call 'harsh' because of the delays
between EDS cards.
And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the rock
band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser extent
Live can sound fantastic when worked well.
TCB
"DJ" <notachance@net.net> wrote:
>I did have a Fairchild and the PL on the master bus. I discovered that one
>last night. I may need to play with the settings some more. Using the
>Fairchild and the PL what I was talking in a post last night about how I
>thought I could achieve *something similar using certain processors*.
>
>I'm going to plug away at this over the next few months. I realize that
I
>don't have much in the way of chops when it comes to getting the most out
of
>this system so I'm not giving up on it, but the Pulsar sounds like a nice
>option to have and I'm going to carefully reassemble my Paris system over
>the course of this week, paying careful attention to some details as far
as
>cabling/clocking are concerned. We're getting ready to start tracking a
>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's what's
>gonna' happen.
>;o)
>
>
>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>>
>> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
>> whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
>> because you wouldn't be mixing to its strengths. To get it sounding more
>> PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
>> master mix bus with relatively 'gentle' mastering type settings. Then
>don't
>> look at them AT ALL and work on a mix for an hour or two. No peeking!
Then
>> when you have the mix sounding nice and fat and rich go check how much
is
>> going on with the master fader f/x.
>>
>> Report back with your findings,
>>
>> TCB
>>
>> "DJ" <notachance@net.net> wrote:
>> >OK,
>> >
>> >First of all, my wife has the best ears in the family. I "always" get
her
>> >blessing on mixes because I know I can trust her ears. It's literally
>like
>> >having an mastering engineer in the studio. Her ears are incredibly
>> >good/sensitive and she's always right. Amy hasn't ventured up to the
>studio
>> >all weekend while I've been in my mad scientist mode and has been waiting
>> >for me to get my head around getting a mix together for her to listen
to
>> in
>> >SX.
>> >
>> >So I get something happening that I think sounds good and call her up
to
>> >give it a listen. I like it personally and I'm rocking out with my
>Steinberg
>> >Houston controller, fader automation....all the cool bells and whistles.
>> >System is running perfectly, etc. etc. I'm even thinking that I can use
>> this
>> >one for a while to see if I'll even need a more powerful rig it's soooo
>> >stable. I'm feeling like I've finally found something I can live with
>> >here.........soooooo.........she comes in to the control room and I start
>> >playing back this 30+ track project.
>> >
>> >
>> >Amy doesn't know squat about the finer points of recording/processing,
>etc.
>> >she just knows what she likes and doesn't give a flip about what it takes
>> to
>> >achieve it............so she's sitting there through the first half of
>the
>> >song and I can see a little frown start. She looks at me and says "is
>that
>> >midi?........what's going on with this????.........it sounds like it's
>midi
>> >or something ......... sort of artificial...... and the whole thing
>sounds
>> >harsh to me. Sorry honey but that's not gonna' work. I liked the old
>> >system......what's wrong with it? Why are we changing?"
>> >
>> >Now this is coming from someone who would "love" to see me simplify
>things
>> >around here as you guys can well imagine.
>> >
>> >OK.........so I guess I'll try the Pulsar
>> >thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>> >
>> >;oP
>> >
>> >
>> >
>> >
>> >
>>
>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74191 is a reply to message #74190] |
Mon, 16 October 2006 12:11 |
animix
Messages: 356
Registered: September 2006
|
Senior Member |
|
|
Well........I'm definitely not doing some things right. That's for sure.
When I insert an external effect, I get flamming. that *never* happened when
I was routing tracks from Cubase to Paris with the external effect inserted
in a Cubase track. Very strange.
Plus there's a bunch of other wierd stuff happening.
In this project, I've got a bunch of busses
1. drums
2. vocals
3. guitars
4. piano and other keyboards
5. strings.
6. external FX
Then I've created a Main mix bus.
I route the outputs of all of the respective tracks to their respecitve bus,
then I route the respective bus output to the main bus.
I also apply an effect to a track and then route that effect to the main bus
so that the parallel routing is received there. These external FX are app
patched digitally.
When I apply a reverb to the kick drum panned center, I'm getting a strange
shift in the imaging and it sounds like it is paned to the left.
I've got a ways to go here obviously and like I said, I'm not giving up on
it. There's just an unexpected learning curve. I have a feeling that part of
what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
possibly express how much I hate that right now. It's like a layer of pure
shit between where I start and where I want to go.
;o)
"TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
>
> Obviously no reason to disturb domestic tranquility, but my point wasn't
that
> you should use any particular plugs or stuff when you're really mixing.
Maybe
> you should use none across the 2 bus, maybe you should use four graduated
> compressors and a limiter (I've done that, believe it or not). My point
was
> to learn something about how you mix using PARIS. When I used it I did a
> lot of things that are kinda not right for most digital systems. We've
argued
> a billion lines of posts about why and how that's possible inside PARIS.
> What I'm talking about is behavorial not sonic, find out how much you've
> been using the specialized clipping in PARIS as an 'effect' which is what
> I think it is. When I switched from PARIS I did this stuff until I settled
> in on a way to work the stuff well for me, my type(s) of music, and my
software.
> Turns out I was using PARIS clipping _lots_ for almost everything.
>
> All of this I say because if anything a multi-EDS card system should have
> MORE sonic anamolies that a civilian would call 'harsh' because of the
delays
> between EDS cards.
>
> And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
rock
> band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
extent
> Live can sound fantastic when worked well.
>
> TCB
>
> "DJ" <notachance@net.net> wrote:
> >I did have a Fairchild and the PL on the master bus. I discovered that
one
> >last night. I may need to play with the settings some more. Using the
> >Fairchild and the PL what I was talking in a post last night about how I
> >thought I could achieve *something similar using certain processors*.
> >
> >I'm going to plug away at this over the next few months. I realize that
> I
> >don't have much in the way of chops when it comes to getting the most out
> of
> >this system so I'm not giving up on it, but the Pulsar sounds like a nice
> >option to have and I'm going to carefully reassemble my Paris system over
> >the course of this week, paying careful attention to some details as far
> as
> >cabling/clocking are concerned. We're getting ready to start tracking a
> >bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
what's
> >gonna' happen.
> >;o)
> >
> >
> >"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
> >>
> >> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
your
> >> whole life and suddenly got a PARIS rig, you'd say 'What's the big
deal?'
> >> because you wouldn't be mixing to its strengths. To get it sounding
more
> >> PARIS-like, put a UAD Fairchild and then a brick wall limiter across
the
> >> master mix bus with relatively 'gentle' mastering type settings. Then
> >don't
> >> look at them AT ALL and work on a mix for an hour or two. No peeking!
> Then
> >> when you have the mix sounding nice and fat and rich go check how much
> is
> >> going on with the master fader f/x.
> >>
> >> Report back with your findings,
> >>
> >> TCB
> >>
> >> "DJ" <notachance@net.net> wrote:
> >> >OK,
> >> >
> >> >First of all, my wife has the best ears in the family. I "always" get
> her
> >> >blessing on mixes because I know I can trust her ears. It's literally
> >like
> >> >having an mastering engineer in the studio. Her ears are incredibly
> >> >good/sensitive and she's always right. Amy hasn't ventured up to the
> >studio
> >> >all weekend while I've been in my mad scientist mode and has been
waiting
> >> >for me to get my head around getting a mix together for her to listen
> to
> >> in
> >> >SX.
> >> >
> >> >So I get something happening that I think sounds good and call her up
> to
> >> >give it a listen. I like it personally and I'm rocking out with my
> >Steinberg
> >> >Houston controller, fader automation....all the cool bells and
whistles.
> >> >System is running perfectly, etc. etc. I'm even thinking that I can
use
> >> this
> >> >one for a while to see if I'll even need a more powerful rig it's
soooo
> >> >stable. I'm feeling like I've finally found something I can live with
> >> >here.........soooooo.........she comes in to the control room and I
start
> >> >playing back this 30+ track project.
> >> >
> >> >
> >> >Amy doesn't know squat about the finer points of recording/processing,
> >etc.
> >> >she just knows what she likes and doesn't give a flip about what it
takes
> >> to
> >> >achieve it............so she's sitting there through the first half of
> >the
> >> >song and I can see a little frown start. She looks at me and says "is
> >that
> >> >midi?........what's going on with this????.........it sounds like it's
> >midi
> >> >or something ......... sort of artificial...... and the whole thing
> >sounds
> >> >harsh to me. Sorry honey but that's not gonna' work. I liked the old
> >> >system......what's wrong with it? Why are we changing?"
> >> >
> >> >Now this is coming from someone who would "love" to see me simplify
> >things
> >> >around here as you guys can well imagine.
> >> >
> >> >OK.........so I guess I'll try the Pulsar
> >> >thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
> >> >
> >> >;oP
> >> >
> >> >
> >> >
> >> >
> >> >
> >>
> >
> >
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74192 is a reply to message #74191] |
Mon, 16 October 2006 12:24 |
EK Sound
Messages: 939
Registered: June 2005
|
Senior Member |
|
|
Check your effects settings to make sure you have them set to 100% wet.
David.
DJ wrote:
> Well........I'm definitely not doing some things right. That's for sure.
> When I insert an external effect, I get flamming. that *never* happened when
> I was routing tracks from Cubase to Paris with the external effect inserted
> in a Cubase track. Very strange.
>
> Plus there's a bunch of other wierd stuff happening.
>
> In this project, I've got a bunch of busses
> 1. drums
> 2. vocals
> 3. guitars
> 4. piano and other keyboards
> 5. strings.
> 6. external FX
>
> Then I've created a Main mix bus.
>
> I route the outputs of all of the respective tracks to their respecitve bus,
> then I route the respective bus output to the main bus.
> I also apply an effect to a track and then route that effect to the main bus
> so that the parallel routing is received there. These external FX are app
> patched digitally.
>
> When I apply a reverb to the kick drum panned center, I'm getting a strange
> shift in the imaging and it sounds like it is paned to the left.
>
> I've got a ways to go here obviously and like I said, I'm not giving up on
> it. There's just an unexpected learning curve. I have a feeling that part of
> what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
> possibly express how much I hate that right now. It's like a layer of pure
> shit between where I start and where I want to go.
>
> ;o)
>
> "TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
>
>>Obviously no reason to disturb domestic tranquility, but my point wasn't
>
> that
>
>>you should use any particular plugs or stuff when you're really mixing.
>
> Maybe
>
>>you should use none across the 2 bus, maybe you should use four graduated
>>compressors and a limiter (I've done that, believe it or not). My point
>
> was
>
>>to learn something about how you mix using PARIS. When I used it I did a
>>lot of things that are kinda not right for most digital systems. We've
>
> argued
>
>>a billion lines of posts about why and how that's possible inside PARIS.
>>What I'm talking about is behavorial not sonic, find out how much you've
>>been using the specialized clipping in PARIS as an 'effect' which is what
>>I think it is. When I switched from PARIS I did this stuff until I settled
>>in on a way to work the stuff well for me, my type(s) of music, and my
>
> software.
>
>>Turns out I was using PARIS clipping _lots_ for almost everything.
>>
>>All of this I say because if anything a multi-EDS card system should have
>>MORE sonic anamolies that a civilian would call 'harsh' because of the
>
> delays
>
>>between EDS cards.
>>
>>And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
>
> rock
>
>>band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
>
> extent
>
>>Live can sound fantastic when worked well.
>>
>>TCB
>>
>>"DJ" <notachance@net.net> wrote:
>>
>>>I did have a Fairchild and the PL on the master bus. I discovered that
>
> one
>
>>>last night. I may need to play with the settings some more. Using the
>>>Fairchild and the PL what I was talking in a post last night about how I
>>>thought I could achieve *something similar using certain processors*.
>>>
>>>I'm going to plug away at this over the next few months. I realize that
>>
>>I
>>
>>>don't have much in the way of chops when it comes to getting the most out
>>
>>of
>>
>>>this system so I'm not giving up on it, but the Pulsar sounds like a nice
>>>option to have and I'm going to carefully reassemble my Paris system over
>>>the course of this week, paying careful attention to some details as far
>>
>>as
>>
>>>cabling/clocking are concerned. We're getting ready to start tracking a
>>>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
>
> what's
>
>>>gonna' happen.
>>>;o)
>>>
>>>
>>>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>>>
>>>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
>
> your
>
>>>>whole life and suddenly got a PARIS rig, you'd say 'What's the big
>
> deal?'
>
>>>>because you wouldn't be mixing to its strengths. To get it sounding
>
> more
>
>>>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across
>
> the
>
>>>>master mix bus with relatively 'gentle' mastering type settings. Then
>>>
>>>don't
>>>
>>>>look at them AT ALL and work on a mix for an hour or two. No peeking!
>>
>>Then
>>
>>>>when you have the mix sounding nice and fat and rich go check how much
>>
>>is
>>
>>>>going on with the master fader f/x.
>>>>
>>>>Report back with your findings,
>>>>
>>>>TCB
>>>>
>>>>"DJ" <notachance@net.net> wrote:
>>>>
>>>>>OK,
>>>>>
>>>>>First of all, my wife has the best ears in the family. I "always" get
>>
>>her
>>
>>>>>blessing on mixes because I know I can trust her ears. It's literally
>>>
>>>like
>>>
>>>>>having an mastering engineer in the studio. Her ears are incredibly
>>>>>good/sensitive and she's always right. Amy hasn't ventured up to the
>>>
>>>studio
>>>
>>>>>all weekend while I've been in my mad scientist mode and has been
>
> waiting
>
>>>>>for me to get my head around getting a mix together for her to listen
>>
>>to
>>
>>>>in
>>>>
>>>>>SX.
>>>>>
>>>>>So I get something happening that I think sounds good and call her up
>>
>>to
>>
>>>>>give it a listen. I like it personally and I'm rocking out with my
>>>
>>>Steinberg
>>>
>>>>>Houston controller, fader automation....all the cool bells and
>
> whistles.
>
>>>>>System is running perfectly, etc. etc. I'm even thinking that I can
>
> use
>
>>>>this
>>>>
>>>>>one for a while to see if I'll even need a more powerful rig it's
>
> soooo
>
>>>>>stable. I'm feeling like I've finally found something I can live with
>>>>>here.........soooooo.........she comes in to the control room and I
>
> start
>
>>>>>playing back this 30+ track project.
>>>>>
>>>>>
>>>>>Amy doesn't know squat about the finer points of recording/processing,
>>>
>>>etc.
>>>
>>>>>she just knows what she likes and doesn't give a flip about what it
>
> takes
>
>>>>to
>>>>
>>>>>achieve it............so she's sitting there through the first half of
>>>
>>>the
>>>
>>>>>song and I can see a little frown start. She looks at me and says "is
>>>
>>>that
>>>
>>>>>midi?........what's going on with this????.........it sounds like it's
>>>
>>>midi
>>>
>>>>>or something ......... sort of artificial...... and the whole thing
>>>
>>>sounds
>>>
>>>>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>>>>>system......what's wrong with it? Why are we changing?"
>>>>>
>>>>>Now this is coming from someone who would "love" to see me simplify
>>>
>>>things
>>>
>>>>>around here as you guys can well imagine.
>>>>>
>>>>>OK.........so I guess I'll try the Pulsar
>>>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>>>>
>>>>>;oP
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>
>>>
>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74194 is a reply to message #74191] |
Mon, 16 October 2006 12:22 |
TCB
Messages: 1261
Registered: July 2007
|
Senior Member |
|
|
Ouch, that sounds rough. Totalmix is one of those 'shazam' apps. It will cause
all kinds of totally unexpected crap to happen all the time and then, in
one single moment just when you're really thinking of kicking the cat in
the ribs because the computer cost too much, order will be restored to the
universe and it will all make complete sense. Then you'll start making totalmix
_presets_ which probably means you need to be in an audio 12 step group,
but we know you need that anyway.
One suggestion, make a totalmix preset where everytyhing is OFF completely
and build from there.
One more suggestion, don't put reverb on the kick ;-)
TCB
"DJ" <notachance@net.net> wrote:
>Well........I'm definitely not doing some things right. That's for sure.
>When I insert an external effect, I get flamming. that *never* happened
when
>I was routing tracks from Cubase to Paris with the external effect inserted
>in a Cubase track. Very strange.
>
>Plus there's a bunch of other wierd stuff happening.
>
>In this project, I've got a bunch of busses
>1. drums
>2. vocals
>3. guitars
>4. piano and other keyboards
>5. strings.
>6. external FX
>
>Then I've created a Main mix bus.
>
>I route the outputs of all of the respective tracks to their respecitve
bus,
>then I route the respective bus output to the main bus.
>I also apply an effect to a track and then route that effect to the main
bus
>so that the parallel routing is received there. These external FX are app
>patched digitally.
>
>When I apply a reverb to the kick drum panned center, I'm getting a strange
>shift in the imaging and it sounds like it is paned to the left.
>
>I've got a ways to go here obviously and like I said, I'm not giving up
on
>it. There's just an unexpected learning curve. I have a feeling that part
of
>what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
>possibly express how much I hate that right now. It's like a layer of pure
>shit between where I start and where I want to go.
>
>;o)
>
>"TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
>>
>> Obviously no reason to disturb domestic tranquility, but my point wasn't
>that
>> you should use any particular plugs or stuff when you're really mixing.
>Maybe
>> you should use none across the 2 bus, maybe you should use four graduated
>> compressors and a limiter (I've done that, believe it or not). My point
>was
>> to learn something about how you mix using PARIS. When I used it I did
a
>> lot of things that are kinda not right for most digital systems. We've
>argued
>> a billion lines of posts about why and how that's possible inside PARIS.
>> What I'm talking about is behavorial not sonic, find out how much you've
>> been using the specialized clipping in PARIS as an 'effect' which is what
>> I think it is. When I switched from PARIS I did this stuff until I settled
>> in on a way to work the stuff well for me, my type(s) of music, and my
>software.
>> Turns out I was using PARIS clipping _lots_ for almost everything.
>>
>> All of this I say because if anything a multi-EDS card system should have
>> MORE sonic anamolies that a civilian would call 'harsh' because of the
>delays
>> between EDS cards.
>>
>> And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
>rock
>> band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
>extent
>> Live can sound fantastic when worked well.
>>
>> TCB
>>
>> "DJ" <notachance@net.net> wrote:
>> >I did have a Fairchild and the PL on the master bus. I discovered that
>one
>> >last night. I may need to play with the settings some more. Using the
>> >Fairchild and the PL what I was talking in a post last night about how
I
>> >thought I could achieve *something similar using certain processors*.
>> >
>> >I'm going to plug away at this over the next few months. I realize that
>> I
>> >don't have much in the way of chops when it comes to getting the most
out
>> of
>> >this system so I'm not giving up on it, but the Pulsar sounds like a
nice
>> >option to have and I'm going to carefully reassemble my Paris system
over
>> >the course of this week, paying careful attention to some details as
far
>> as
>> >cabling/clocking are concerned. We're getting ready to start tracking
a
>> >bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
>what's
>> >gonna' happen.
>> >;o)
>> >
>> >
>> >"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>> >>
>> >> Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
>your
>> >> whole life and suddenly got a PARIS rig, you'd say 'What's the big
>deal?'
>> >> because you wouldn't be mixing to its strengths. To get it sounding
>more
>> >> PARIS-like, put a UAD Fairchild and then a brick wall limiter across
>the
>> >> master mix bus with relatively 'gentle' mastering type settings. Then
>> >don't
>> >> look at them AT ALL and work on a mix for an hour or two. No peeking!
>> Then
>> >> when you have the mix sounding nice and fat and rich go check how much
>> is
>> >> going on with the master fader f/x.
>> >>
>> >> Report back with your findings,
>> >>
>> >> TCB
>> >>
>> >> "DJ" <notachance@net.net> wrote:
>> >> >OK,
>> >> >
>> >> >First of all, my wife has the best ears in the family. I "always"
get
>> her
>> >> >blessing on mixes because I know I can trust her ears. It's literally
>> >like
>> >> >having an mastering engineer in the studio. Her ears are incredibly
>> >> >good/sensitive and she's always right. Amy hasn't ventured up to the
>> >studio
>> >> >all weekend while I've been in my mad scientist mode and has been
>waiting
>> >> >for me to get my head around getting a mix together for her to listen
>> to
>> >> in
>> >> >SX.
>> >> >
>> >> >So I get something happening that I think sounds good and call her
up
>> to
>> >> >give it a listen. I like it personally and I'm rocking out with my
>> >Steinberg
>> >> >Houston controller, fader automation....all the cool bells and
>whistles.
>> >> >System is running perfectly, etc. etc. I'm even thinking that I can
>use
>> >> this
>> >> >one for a while to see if I'll even need a more powerful rig it's
>soooo
>> >> >stable. I'm feeling like I've finally found something I can live with
>> >> >here.........soooooo.........she comes in to the control room and
I
>start
>> >> >playing back this 30+ track project.
>> >> >
>> >> >
>> >> >Amy doesn't know squat about the finer points of recording/processing,
>> >etc.
>> >> >she just knows what she likes and doesn't give a flip about what it
>takes
>> >> to
>> >> >achieve it............so she's sitting there through the first half
of
>> >the
>> >> >song and I can see a little frown start. She looks at me and says
"is
>> >that
>> >> >midi?........what's going on with this????.........it sounds like
it's
>> >midi
>> >> >or something ......... sort of artificial...... and the whole thing
>> >sounds
>> >> >harsh to me. Sorry honey but that's not gonna' work. I liked the old
>> >> >system......what's wrong with it? Why are we changing?"
>> >> >
>> >> >Now this is coming from someone who would "love" to see me simplify
>> >things
>> >> >around here as you guys can well imagine.
>> >> >
>> >> >OK.........so I guess I'll try the Pulsar
>> >> >thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>> >> >
>> >> >;oP
>> >> >
>> >> >
>> >> >
>> >> >
>> >> >
>> >>
>> >
>> >
>>
>
>
|
|
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74198 is a reply to message #74177] |
Mon, 16 October 2006 13:10 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
Thad....You may not see this, since it's in a big trhead, but, if you do....
What are some examples you could give that would be mixing to Cubase's strengths?
If you can give some, I'll save them and use them to help me when I go the
Cubase/nuendo route, which probably won't be for a while, but by the time
I get there, i may not have access to your tips. So any tidbits would be
appreciated.
Rod
"TCB" <nobody@ishere.com> wrote:
>
>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
>whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
>because you wouldn't be mixing to its strengths. To get it sounding more
>PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
>master mix bus with relatively 'gentle' mastering type settings. Then don't
>look at them AT ALL and work on a mix for an hour or two. No peeking! Then
>when you have the mix sounding nice and fat and rich go check how much is
>going on with the master fader f/x.
>
>Report back with your findings,
>
>TCB
>
>"DJ" <notachance@net.net> wrote:
>>OK,
>>
>>First of all, my wife has the best ears in the family. I "always" get her
>>blessing on mixes because I know I can trust her ears. It's literally like
>>having an mastering engineer in the studio. Her ears are incredibly
>>good/sensitive and she's always right. Amy hasn't ventured up to the studio
>>all weekend while I've been in my mad scientist mode and has been waiting
>>for me to get my head around getting a mix together for her to listen to
>in
>>SX.
>>
>>So I get something happening that I think sounds good and call her up to
>>give it a listen. I like it personally and I'm rocking out with my Steinberg
>>Houston controller, fader automation....all the cool bells and whistles.
>>System is running perfectly, etc. etc. I'm even thinking that I can use
>this
>>one for a while to see if I'll even need a more powerful rig it's soooo
>>stable. I'm feeling like I've finally found something I can live with
>>here.........soooooo.........she comes in to the control room and I start
>>playing back this 30+ track project.
>>
>>
>>Amy doesn't know squat about the finer points of recording/processing,
etc.
>>she just knows what she likes and doesn't give a flip about what it takes
>to
>>achieve it............so she's sitting there through the first half of
the
>>song and I can see a little frown start. She looks at me and says "is that
>>midi?........what's going on with this????.........it sounds like it's
midi
>>or something ......... sort of artificial...... and the whole thing sounds
>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>>system......what's wrong with it? Why are we changing?"
>>
>>Now this is coming from someone who would "love" to see me simplify things
>>around here as you guys can well imagine.
>>
>>OK.........so I guess I'll try the Pulsar
>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>
>>;oP
>>
>>
>>
>>
>>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74199 is a reply to message #74192] |
Mon, 16 October 2006 13:19 |
animix
Messages: 356
Registered: September 2006
|
Senior Member |
|
|
I've got this panning wierdness stopped. It was because I had an an external
processor on the cannel without anything inserted........WTF it exhibits
this behaviour, I haven't a clue. This also can cause a very tasty feedback
loop with a resulting hard crash. I've got a song up here that I mixed
streaming from Cubase SX to Paris about a month ago. I wasn't done with it
yet because I wanted to readjust some levels but it was close enough to done
with it to where it will hold up as an example of this kind of mix
technique. It hasn't been mastered yet so I'm gonna try to recreate it or do
better. If I'm not too embarrassed, I'll MP3 them and send them to Tony to
post on his website so y'all can compare the two.
Deej
"EK Sound" <askme@nospam.com> wrote in message news:4533da57$1@linux...
> Check your effects settings to make sure you have them set to 100% wet.
>
> David.
>
> DJ wrote:
> > Well........I'm definitely not doing some things right. That's for sure.
> > When I insert an external effect, I get flamming. that *never* happened
when
> > I was routing tracks from Cubase to Paris with the external effect
inserted
> > in a Cubase track. Very strange.
> >
> > Plus there's a bunch of other wierd stuff happening.
> >
> > In this project, I've got a bunch of busses
> > 1. drums
> > 2. vocals
> > 3. guitars
> > 4. piano and other keyboards
> > 5. strings.
> > 6. external FX
> >
> > Then I've created a Main mix bus.
> >
> > I route the outputs of all of the respective tracks to their respecitve
bus,
> > then I route the respective bus output to the main bus.
> > I also apply an effect to a track and then route that effect to the main
bus
> > so that the parallel routing is received there. These external FX are
app
> > patched digitally.
> >
> > When I apply a reverb to the kick drum panned center, I'm getting a
strange
> > shift in the imaging and it sounds like it is paned to the left.
> >
> > I've got a ways to go here obviously and like I said, I'm not giving up
on
> > it. There's just an unexpected learning curve. I have a feeling that
part of
> > what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
> > possibly express how much I hate that right now. It's like a layer of
pure
> > shit between where I start and where I want to go.
> >
> > ;o)
> >
> > "TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
> >
> >>Obviously no reason to disturb domestic tranquility, but my point wasn't
> >
> > that
> >
> >>you should use any particular plugs or stuff when you're really mixing.
> >
> > Maybe
> >
> >>you should use none across the 2 bus, maybe you should use four
graduated
> >>compressors and a limiter (I've done that, believe it or not). My point
> >
> > was
> >
> >>to learn something about how you mix using PARIS. When I used it I did a
> >>lot of things that are kinda not right for most digital systems. We've
> >
> > argued
> >
> >>a billion lines of posts about why and how that's possible inside PARIS.
> >>What I'm talking about is behavorial not sonic, find out how much you've
> >>been using the specialized clipping in PARIS as an 'effect' which is
what
> >>I think it is. When I switched from PARIS I did this stuff until I
settled
> >>in on a way to work the stuff well for me, my type(s) of music, and my
> >
> > software.
> >
> >>Turns out I was using PARIS clipping _lots_ for almost everything.
> >>
> >>All of this I say because if anything a multi-EDS card system should
have
> >>MORE sonic anamolies that a civilian would call 'harsh' because of the
> >
> > delays
> >
> >>between EDS cards.
> >>
> >>And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
> >
> > rock
> >
> >>band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
> >
> > extent
> >
> >>Live can sound fantastic when worked well.
> >>
> >>TCB
> >>
> >>"DJ" <notachance@net.net> wrote:
> >>
> >>>I did have a Fairchild and the PL on the master bus. I discovered that
> >
> > one
> >
> >>>last night. I may need to play with the settings some more. Using the
> >>>Fairchild and the PL what I was talking in a post last night about how
I
> >>>thought I could achieve *something similar using certain processors*.
> >>>
> >>>I'm going to plug away at this over the next few months. I realize that
> >>
> >>I
> >>
> >>>don't have much in the way of chops when it comes to getting the most
out
> >>
> >>of
> >>
> >>>this system so I'm not giving up on it, but the Pulsar sounds like a
nice
> >>>option to have and I'm going to carefully reassemble my Paris system
over
> >>>the course of this week, paying careful attention to some details as
far
> >>
> >>as
> >>
> >>>cabling/clocking are concerned. We're getting ready to start tracking a
> >>>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
> >
> > what's
> >
> >>>gonna' happen.
> >>>;o)
> >>>
> >>>
> >>>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
> >>>
> >>>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
> >
> > your
> >
> >>>>whole life and suddenly got a PARIS rig, you'd say 'What's the big
> >
> > deal?'
> >
> >>>>because you wouldn't be mixing to its strengths. To get it sounding
> >
> > more
> >
> >>>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across
> >
> > the
> >
> >>>>master mix bus with relatively 'gentle' mastering type settings. Then
> >>>
> >>>don't
> >>>
> >>>>look at them AT ALL and work on a mix for an hour or two. No peeking!
> >>
> >>Then
> >>
> >>>>when you have the mix sounding nice and fat and rich go check how much
> >>
> >>is
> >>
> >>>>going on with the master fader f/x.
> >>>>
> >>>>Report back with your findings,
> >>>>
> >>>>TCB
> >>>>
> >>>>"DJ" <notachance@net.net> wrote:
> >>>>
> >>>>>OK,
> >>>>>
> >>>>>First of all, my wife has the best ears in the family. I "always" get
> >>
> >>her
> >>
> >>>>>blessing on mixes because I know I can trust her ears. It's literally
> >>>
> >>>like
> >>>
> >>>>>having an mastering engineer in the studio. Her ears are incredibly
> >>>>>good/sensitive and she's always right. Amy hasn't ventured up to the
> >>>
> >>>studio
> >>>
> >>>>>all weekend while I've been in my mad scientist mode and has been
> >
> > waiting
> >
> >>>>>for me to get my head around getting a mix together for her to listen
> >>
> >>to
> >>
> >>>>in
> >>>>
> >>>>>SX.
> >>>>>
> >>>>>So I get something happening that I think sounds good and call her up
> >>
> >>to
> >>
> >>>>>give it a listen. I like it personally and I'm rocking out with my
> >>>
> >>>Steinberg
> >>>
> >>>>>Houston controller, fader automation....all the cool bells and
> >
> > whistles.
> >
> >>>>>System is running perfectly, etc. etc. I'm even thinking that I can
> >
> > use
> >
> >>>>this
> >>>>
> >>>>>one for a while to see if I'll even need a more powerful rig it's
> >
> > soooo
> >
> >>>>>stable. I'm feeling like I've finally found something I can live with
> >>>>>here.........soooooo.........she comes in to the control room and I
> >
> > start
> >
> >>>>>playing back this 30+ track project.
> >>>>>
> >>>>>
> >>>>>Amy doesn't know squat about the finer points of
recording/processing,
> >>>
> >>>etc.
> >>>
> >>>>>she just knows what she likes and doesn't give a flip about what it
> >
> > takes
> >
> >>>>to
> >>>>
> >>>>>achieve it............so she's sitting there through the first half
of
> >>>
> >>>the
> >>>
> >>>>>song and I can see a little frown start. She looks at me and says "is
> >>>
> >>>that
> >>>
> >>>>>midi?........what's going on with this????.........it sounds like
it's
> >>>
> >>>midi
> >>>
> >>>>>or something ......... sort of artificial...... and the whole thing
> >>>
> >>>sounds
> >>>
> >>>>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
> >>>>>system......what's wrong with it? Why are we changing?"
> >>>>>
> >>>>>Now this is coming from someone who would "love" to see me simplify
> >>>
> >>>things
> >>>
> >>>>>around here as you guys can well imagine.
> >>>>>
> >>>>>OK.........so I guess I'll try the Pulsar
> >>>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
> >>>>>
> >>>>>;oP
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>
> >>>
> >
> >
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74200 is a reply to message #74192] |
Mon, 16 October 2006 13:20 |
animix
Messages: 356
Registered: September 2006
|
Senior Member |
|
|
How do I set a Distressor or an SPL Transient Designer to 100% wet?
;o)
"EK Sound" <askme@nospam.com> wrote in message news:4533da57$1@linux...
> Check your effects settings to make sure you have them set to 100% wet.
>
> David.
>
> DJ wrote:
> > Well........I'm definitely not doing some things right. That's for sure.
> > When I insert an external effect, I get flamming. that *never* happened
when
> > I was routing tracks from Cubase to Paris with the external effect
inserted
> > in a Cubase track. Very strange.
> >
> > Plus there's a bunch of other wierd stuff happening.
> >
> > In this project, I've got a bunch of busses
> > 1. drums
> > 2. vocals
> > 3. guitars
> > 4. piano and other keyboards
> > 5. strings.
> > 6. external FX
> >
> > Then I've created a Main mix bus.
> >
> > I route the outputs of all of the respective tracks to their respecitve
bus,
> > then I route the respective bus output to the main bus.
> > I also apply an effect to a track and then route that effect to the main
bus
> > so that the parallel routing is received there. These external FX are
app
> > patched digitally.
> >
> > When I apply a reverb to the kick drum panned center, I'm getting a
strange
> > shift in the imaging and it sounds like it is paned to the left.
> >
> > I've got a ways to go here obviously and like I said, I'm not giving up
on
> > it. There's just an unexpected learning curve. I have a feeling that
part of
> > what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
> > possibly express how much I hate that right now. It's like a layer of
pure
> > shit between where I start and where I want to go.
> >
> > ;o)
> >
> > "TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
> >
> >>Obviously no reason to disturb domestic tranquility, but my point wasn't
> >
> > that
> >
> >>you should use any particular plugs or stuff when you're really mixing.
> >
> > Maybe
> >
> >>you should use none across the 2 bus, maybe you should use four
graduated
> >>compressors and a limiter (I've done that, believe it or not). My point
> >
> > was
> >
> >>to learn something about how you mix using PARIS. When I used it I did a
> >>lot of things that are kinda not right for most digital systems. We've
> >
> > argued
> >
> >>a billion lines of posts about why and how that's possible inside PARIS.
> >>What I'm talking about is behavorial not sonic, find out how much you've
> >>been using the specialized clipping in PARIS as an 'effect' which is
what
> >>I think it is. When I switched from PARIS I did this stuff until I
settled
> >>in on a way to work the stuff well for me, my type(s) of music, and my
> >
> > software.
> >
> >>Turns out I was using PARIS clipping _lots_ for almost everything.
> >>
> >>All of this I say because if anything a multi-EDS card system should
have
> >>MORE sonic anamolies that a civilian would call 'harsh' because of the
> >
> > delays
> >
> >>between EDS cards.
> >>
> >>And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
> >
> > rock
> >
> >>band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
> >
> > extent
> >
> >>Live can sound fantastic when worked well.
> >>
> >>TCB
> >>
> >>"DJ" <notachance@net.net> wrote:
> >>
> >>>I did have a Fairchild and the PL on the master bus. I discovered that
> >
> > one
> >
> >>>last night. I may need to play with the settings some more. Using the
> >>>Fairchild and the PL what I was talking in a post last night about how
I
> >>>thought I could achieve *something similar using certain processors*.
> >>>
> >>>I'm going to plug away at this over the next few months. I realize that
> >>
> >>I
> >>
> >>>don't have much in the way of chops when it comes to getting the most
out
> >>
> >>of
> >>
> >>>this system so I'm not giving up on it, but the Pulsar sounds like a
nice
> >>>option to have and I'm going to carefully reassemble my Paris system
over
> >>>the course of this week, paying careful attention to some details as
far
> >>
> >>as
> >>
> >>>cabling/clocking are concerned. We're getting ready to start tracking a
> >>>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
> >
> > what's
> >
> >>>gonna' happen.
> >>>;o)
> >>>
> >>>
> >>>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
> >>>
> >>>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
> >
> > your
> >
> >>>>whole life and suddenly got a PARIS rig, you'd say 'What's the big
> >
> > deal?'
> >
> >>>>because you wouldn't be mixing to its strengths. To get it sounding
> >
> > more
> >
> >>>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across
> >
> > the
> >
> >>>>master mix bus with relatively 'gentle' mastering type settings. Then
> >>>
> >>>don't
> >>>
> >>>>look at them AT ALL and work on a mix for an hour or two. No peeking!
> >>
> >>Then
> >>
> >>>>when you have the mix sounding nice and fat and rich go check how much
> >>
> >>is
> >>
> >>>>going on with the master fader f/x.
> >>>>
> >>>>Report back with your findings,
> >>>>
> >>>>TCB
> >>>>
> >>>>"DJ" <notachance@net.net> wrote:
> >>>>
> >>>>>OK,
> >>>>>
> >>>>>First of all, my wife has the best ears in the family. I "always" get
> >>
> >>her
> >>
> >>>>>blessing on mixes because I know I can trust her ears. It's literally
> >>>
> >>>like
> >>>
> >>>>>having an mastering engineer in the studio. Her ears are incredibly
> >>>>>good/sensitive and she's always right. Amy hasn't ventured up to the
> >>>
> >>>studio
> >>>
> >>>>>all weekend while I've been in my mad scientist mode and has been
> >
> > waiting
> >
> >>>>>for me to get my head around getting a mix together for her to listen
> >>
> >>to
> >>
> >>>>in
> >>>>
> >>>>>SX.
> >>>>>
> >>>>>So I get something happening that I think sounds good and call her up
> >>
> >>to
> >>
> >>>>>give it a listen. I like it personally and I'm rocking out with my
> >>>
> >>>Steinberg
> >>>
> >>>>>Houston controller, fader automation....all the cool bells and
> >
> > whistles.
> >
> >>>>>System is running perfectly, etc. etc. I'm even thinking that I can
> >
> > use
> >
> >>>>this
> >>>>
> >>>>>one for a while to see if I'll even need a more powerful rig it's
> >
> > soooo
> >
> >>>>>stable. I'm feeling like I've finally found something I can live with
> >>>>>here.........soooooo.........she comes in to the control room and I
> >
> > start
> >
> >>>>>playing back this 30+ track project.
> >>>>>
> >>>>>
> >>>>>Amy doesn't know squat about the finer points of
recording/processing,
> >>>
> >>>etc.
> >>>
> >>>>>she just knows what she likes and doesn't give a flip about what it
> >
> > takes
> >
> >>>>to
> >>>>
> >>>>>achieve it............so she's sitting there through the first half
of
> >>>
> >>>the
> >>>
> >>>>>song and I can see a little frown start. She looks at me and says "is
> >>>
> >>>that
> >>>
> >>>>>midi?........what's going on with this????.........it sounds like
it's
> >>>
> >>>midi
> >>>
> >>>>>or something ......... sort of artificial...... and the whole thing
> >>>
> >>>sounds
> >>>
> >>>>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
> >>>>>system......what's wrong with it? Why are we changing?"
> >>>>>
> >>>>>Now this is coming from someone who would "love" to see me simplify
> >>>
> >>>things
> >>>
> >>>>>around here as you guys can well imagine.
> >>>>>
> >>>>>OK.........so I guess I'll try the Pulsar
> >>>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
> >>>>>
> >>>>>;oP
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>
> >>>
> >
> >
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74203 is a reply to message #74198] |
Mon, 16 October 2006 13:30 |
Neil
Messages: 1645
Registered: April 2006
|
Senior Member |
|
|
If I may chime in here as well as Thad...
1.) Give yourself some headroom... set a default template (if
you use them) so that all track channels are at, for example,
-6 or so, or simply remember to drop channels levels down as you
add them. Groups where you're using EFX on are ok to run at full
blast, since you probably won't be sending stuff to them that
hot anyway.
2.) Think "clean", not "HOT"... get your mind wrapped around
avoiding clipping, and you'll be fine. If you need that "hot"
sound, use a plugin (tube sim, etc.).
3.) Want more "glue"? Group things together & use a comp across
the group, or simply across the main buss if that does it for
you.
4.) Avoid the Cubase dynamics plugins like the plague. They
truly suck, IME. There are plenty of other compressors out
there, - both paid & free - that are much better. MUCH better.
I like the buzzroom package, myself... those things RAWK.
Also, the Cubase EQ's are fine for many things, but I prefer Matt
Craig's Paris VST EQ for drums, FWIW. A good EQ that I like for
keyboards, and that also has a bit of a saturation effect option
is the Classic EQ from Kjaerhus (it's free), and this can also
tie in with #3 & #2, above... strap that across a stereo group &
whether or not you're using the EQ portion, if you enable the
saturation you'll get some nice warmth going. Those of you with
UAD cards or the like will no doubt already have your favorite
toys for doing any of these things I just mentioned.
5.) Mix down to 32-bit float, then, whether you dither or not,
sample-rate convert using r8-Brain or whatever your favorite SRC
is. Take advantage of the 32-bit capability!
Neil
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote:
>
>Thad....You may not see this, since it's in a big trhead, but, if you do....
>What are some examples you could give that would be mixing to Cubase's strengths?
>If you can give some, I'll save them and use them to help me when I go the
>Cubase/nuendo route, which probably won't be for a while, but by the time
>I get there, i may not have access to your tips. So any tidbits would be
>appreciated.
>Rod
>"TCB" <nobody@ishere.com> wrote:
>>
>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
>>whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
>>because you wouldn't be mixing to its strengths. To get it sounding more
>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
>>master mix bus with relatively 'gentle' mastering type settings. Then don't
>>look at them AT ALL and work on a mix for an hour or two. No peeking! Then
>>when you have the mix sounding nice and fat and rich go check how much
is
>>going on with the master fader f/x.
>>
>>Report back with your findings,
>>
>>TCB
>>
>>"DJ" <notachance@net.net> wrote:
>>>OK,
>>>
>>>First of all, my wife has the best ears in the family. I "always" get
her
>>>blessing on mixes because I know I can trust her ears. It's literally
like
>>>having an mastering engineer in the studio. Her ears are incredibly
>>>good/sensitive and she's always right. Amy hasn't ventured up to the studio
>>>all weekend while I've been in my mad scientist mode and has been waiting
>>>for me to get my head around getting a mix together for her to listen
to
>>in
>>>SX.
>>>
>>>So I get something happening that I think sounds good and call her up
to
>>>give it a listen. I like it personally and I'm rocking out with my Steinberg
>>>Houston controller, fader automation....all the cool bells and whistles.
>>>System is running perfectly, etc. etc. I'm even thinking that I can use
>>this
>>>one for a while to see if I'll even need a more powerful rig it's soooo
>>>stable. I'm feeling like I've finally found something I can live with
>>>here.........soooooo.........she comes in to the control room and I start
>>>playing back this 30+ track project.
>>>
>>>
>>>Amy doesn't know squat about the finer points of recording/processing,
>etc.
>>>she just knows what she likes and doesn't give a flip about what it takes
>>to
>>>achieve it............so she's sitting there through the first half of
>the
>>>song and I can see a little frown start. She looks at me and says "is
that
>>>midi?........what's going on with this????.........it sounds like it's
>midi
>>>or something ......... sort of artificial...... and the whole thing sounds
>>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>>>system......what's wrong with it? Why are we changing?"
>>>
>>>Now this is coming from someone who would "love" to see me simplify things
>>>around here as you guys can well imagine.
>>>
>>>OK.........so I guess I'll try the Pulsar
>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>>
>>>;oP
>>>
>>>
>>>
>>>
>>>
>>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74204 is a reply to message #74200] |
Mon, 16 October 2006 13:32 |
Neil
Messages: 1645
Registered: April 2006
|
Senior Member |
|
|
Hey Deej... see if you can set the amount of latency
compensation for External Effects under your "plug-ins" menu
(under the "Devices" tab). Maybe that's what needs to happen first.
"DJ" <notachance@net.net> wrote:
>How do I set a Distressor or an SPL Transient Designer to 100% wet?
>
>;o)
>
>"EK Sound" <askme@nospam.com> wrote in message news:4533da57$1@linux...
>> Check your effects settings to make sure you have them set to 100% wet.
>>
>> David.
>>
>> DJ wrote:
>> > Well........I'm definitely not doing some things right. That's for sure.
>> > When I insert an external effect, I get flamming. that *never* happened
>when
>> > I was routing tracks from Cubase to Paris with the external effect
>inserted
>> > in a Cubase track. Very strange.
>> >
>> > Plus there's a bunch of other wierd stuff happening.
>> >
>> > In this project, I've got a bunch of busses
>> > 1. drums
>> > 2. vocals
>> > 3. guitars
>> > 4. piano and other keyboards
>> > 5. strings.
>> > 6. external FX
>> >
>> > Then I've created a Main mix bus.
>> >
>> > I route the outputs of all of the respective tracks to their respecitve
>bus,
>> > then I route the respective bus output to the main bus.
>> > I also apply an effect to a track and then route that effect to the
main
>bus
>> > so that the parallel routing is received there. These external FX are
>app
>> > patched digitally.
>> >
>> > When I apply a reverb to the kick drum panned center, I'm getting a
>strange
>> > shift in the imaging and it sounds like it is paned to the left.
>> >
>> > I've got a ways to go here obviously and like I said, I'm not giving
up
>on
>> > it. There's just an unexpected learning curve. I have a feeling that
>part of
>> > what is going on has to do with that %^&%$#%^%$# Totalmix app. I can't
>> > possibly express how much I hate that right now. It's like a layer of
>pure
>> > shit between where I start and where I want to go.
>> >
>> > ;o)
>> >
>> > "TCB" <nobody@ishere.com> wrote in message news:4533d553$1@linux...
>> >
>> >>Obviously no reason to disturb domestic tranquility, but my point wasn't
>> >
>> > that
>> >
>> >>you should use any particular plugs or stuff when you're really mixing.
>> >
>> > Maybe
>> >
>> >>you should use none across the 2 bus, maybe you should use four
>graduated
>> >>compressors and a limiter (I've done that, believe it or not). My point
>> >
>> > was
>> >
>> >>to learn something about how you mix using PARIS. When I used it I did
a
>> >>lot of things that are kinda not right for most digital systems. We've
>> >
>> > argued
>> >
>> >>a billion lines of posts about why and how that's possible inside PARIS.
>> >>What I'm talking about is behavorial not sonic, find out how much you've
>> >>been using the specialized clipping in PARIS as an 'effect' which is
>what
>> >>I think it is. When I switched from PARIS I did this stuff until I
>settled
>> >>in on a way to work the stuff well for me, my type(s) of music, and
my
>> >
>> > software.
>> >
>> >>Turns out I was using PARIS clipping _lots_ for almost everything.
>> >>
>> >>All of this I say because if anything a multi-EDS card system should
>have
>> >>MORE sonic anamolies that a civilian would call 'harsh' because of the
>> >
>> > delays
>> >
>> >>between EDS cards.
>> >>
>> >>And I'm not slagging PARIS. I'd LOVE to have a PARIS rig to record the
>> >
>> > rock
>> >
>> >>band I play in. But SX/Nuendo/Performer/Logic and to a slightly lesser
>> >
>> > extent
>> >
>> >>Live can sound fantastic when worked well.
>> >>
>> >>TCB
>> >>
>> >>"DJ" <notachance@net.net> wrote:
>> >>
>> >>>I did have a Fairchild and the PL on the master bus. I discovered that
>> >
>> > one
>> >
>> >>>last night. I may need to play with the settings some more. Using the
>> >>>Fairchild and the PL what I was talking in a post last night about
how
>I
>> >>>thought I could achieve *something similar using certain processors*.
>> >>>
>> >>>I'm going to plug away at this over the next few months. I realize
that
>> >>
>> >>I
>> >>
>> >>>don't have much in the way of chops when it comes to getting the most
>out
>> >>
>> >>of
>> >>
>> >>>this system so I'm not giving up on it, but the Pulsar sounds like
a
>nice
>> >>>option to have and I'm going to carefully reassemble my Paris system
>over
>> >>>the course of this week, paying careful attention to some details as
>far
>> >>
>> >>as
>> >>
>> >>>cabling/clocking are concerned. We're getting ready to start tracking
a
>> >>>bunch of Amy's songs for her CD and if Amy wants to use Paris, that's
>> >
>> > what's
>> >
>> >>>gonna' happen.
>> >>>;o)
>> >>>
>> >>>
>> >>>"TCB" <nobody@ishere.com> wrote in message news:4533bc71$1@linux...
>> >>>
>> >>>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools
>> >
>> > your
>> >
>> >>>>whole life and suddenly got a PARIS rig, you'd say 'What's the big
>> >
>> > deal?'
>> >
>> >>>>because you wouldn't be mixing to its strengths. To get it sounding
>> >
>> > more
>> >
>> >>>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across
>> >
>> > the
>> >
>> >>>>master mix bus with relatively 'gentle' mastering type settings. Then
>> >>>
>> >>>don't
>> >>>
>> >>>>look at them AT ALL and work on a mix for an hour or two. No peeking!
>> >>
>> >>Then
>> >>
>> >>>>when you have the mix sounding nice and fat and rich go check how
much
>> >>
>> >>is
>> >>
>> >>>>going on with the master fader f/x.
>> >>>>
>> >>>>Report back with your findings,
>> >>>>
>> >>>>TCB
>> >>>>
>> >>>>"DJ" <notachance@net.net> wrote:
>> >>>>
>> >>>>>OK,
>> >>>>>
>> >>>>>First of all, my wife has the best ears in the family. I "always"
get
>> >>
>> >>her
>> >>
>> >>>>>blessing on mixes because I know I can trust her ears. It's literally
>> >>>
>> >>>like
>> >>>
>> >>>>>having an mastering engineer in the studio. Her ears are incredibly
>> >>>>>good/sensitive and she's always right. Amy hasn't ventured up to
the
>> >>>
>> >>>studio
>> >>>
>> >>>>>all weekend while I've been in my mad scientist mode and has been
>> >
>> > waiting
>> >
>> >>>>>for me to get my head around getting a mix together for her to listen
>> >>
>> >>to
>> >>
>> >>>>in
>> >>>>
>> >>>>>SX.
>> >>>>>
>> >>>>>So I get something happening that I think sounds good and call her
up
>> >>
>> >>to
>> >>
>> >>>>>give it a listen. I like it personally and I'm rocking out with my
>> >>>
>> >>>Steinberg
>> >>>
>> >>>>>Houston controller, fader automation....all the cool bells and
>> >
>> > whistles.
>> >
>> >>>>>System is running perfectly, etc. etc. I'm even thinking that I can
>> >
>> > use
>> >
>> >>>>this
>> >>>>
>> >>>>>one for a while to see if I'll even need a more powerful rig it's
>> >
>> > soooo
>> >
>> >>>>>stable. I'm feeling like I've finally found something I can live
with
>> >>>>>here.........soooooo.........she comes in to the control room and
I
>> >
>> > start
>> >
>> >>>>>playing back this 30+ track project.
>> >>>>>
>> >>>>>
>> >>>>>Amy doesn't know squat about the finer points of
>recording/processing,
>> >>>
>> >>>etc.
>> >>>
>> >>>>>she just knows what she likes and doesn't give a flip about what
it
>> >
>> > takes
>> >
>> >>>>to
>> >>>>
>> >>>>>achieve it............so she's sitting there through the first half
>of
>> >>>
>> >>>the
>> >>>
>> >>>>>song and I can see a little frown start. She looks at me and says
"is
>> >>>
>> >>>that
>> >>>
>> >>>>>midi?........what's going on with this????.........it sounds like
>it's
>> >>>
>> >>>midi
>> >>>
>> >>>>>or something ......... sort of artificial...... and the whole thing
>> >>>
>> >>>sounds
>> >>>
>> >>>>>harsh to me. Sorry honey but that's not gonna' work. I liked the
old
>> >>>>>system......what's wrong with it? Why are we changing?"
>> >>>>>
>> >>>>>Now this is coming from someone who would "love" to see me simplify
>> >>>
>> >>>things
>> >>>
>> >>>>>around here as you guys can well imagine.
>> >>>>>
>> >>>>>OK.........so I guess I'll try the Pulsar
>> >>>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>> >>>>>
>> >>>>>;oP
>> >>>>>
>> >>>>>
>> >>>>>
>> >>>>>
>> >>>>>
>> >>>>
>> >>>
>> >
>> >
>
>
|
|
|
|
|
|
|
|
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74290 is a reply to message #74203] |
Tue, 17 October 2006 08:46 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
Yes, you may chime in..and thanks, that's the kind of stuff I'm looking for.
I got it saved for when I need it. I'm really scared at the thought of having
to learn a bunch of new techniques for mixing. I'm SOooooo comfortable with
mixing on Paris.
Rod
"Neil" <OIUOIU@OIU.com> wrote:
>
>If I may chime in here as well as Thad...
>
>1.) Give yourself some headroom... set a default template (if
>you use them) so that all track channels are at, for example,
>-6 or so, or simply remember to drop channels levels down as you
>add them. Groups where you're using EFX on are ok to run at full
>blast, since you probably won't be sending stuff to them that
>hot anyway.
>
>2.) Think "clean", not "HOT"... get your mind wrapped around
>avoiding clipping, and you'll be fine. If you need that "hot"
>sound, use a plugin (tube sim, etc.).
>
>3.) Want more "glue"? Group things together & use a comp across
>the group, or simply across the main buss if that does it for
>you.
>
>4.) Avoid the Cubase dynamics plugins like the plague. They
>truly suck, IME. There are plenty of other compressors out
>there, - both paid & free - that are much better. MUCH better.
>I like the buzzroom package, myself... those things RAWK.
>Also, the Cubase EQ's are fine for many things, but I prefer Matt
>Craig's Paris VST EQ for drums, FWIW. A good EQ that I like for
>keyboards, and that also has a bit of a saturation effect option
>is the Classic EQ from Kjaerhus (it's free), and this can also
>tie in with #3 & #2, above... strap that across a stereo group &
>whether or not you're using the EQ portion, if you enable the
>saturation you'll get some nice warmth going. Those of you with
>UAD cards or the like will no doubt already have your favorite
>toys for doing any of these things I just mentioned.
>
>5.) Mix down to 32-bit float, then, whether you dither or not,
>sample-rate convert using r8-Brain or whatever your favorite SRC
>is. Take advantage of the 32-bit capability!
>
>Neil
>
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote:
>>
>>Thad....You may not see this, since it's in a big trhead, but, if you do....
>>What are some examples you could give that would be mixing to Cubase's
strengths?
>>If you can give some, I'll save them and use them to help me when I go
the
>>Cubase/nuendo route, which probably won't be for a while, but by the time
>>I get there, i may not have access to your tips. So any tidbits would be
>>appreciated.
>>Rod
>>"TCB" <nobody@ishere.com> wrote:
>>>
>>>Deej, SX sounds just fine. Imagine if you'd been mixing in Pro Tools your
>>>whole life and suddenly got a PARIS rig, you'd say 'What's the big deal?'
>>>because you wouldn't be mixing to its strengths. To get it sounding more
>>>PARIS-like, put a UAD Fairchild and then a brick wall limiter across the
>>>master mix bus with relatively 'gentle' mastering type settings. Then
don't
>>>look at them AT ALL and work on a mix for an hour or two. No peeking!
Then
>>>when you have the mix sounding nice and fat and rich go check how much
>is
>>>going on with the master fader f/x.
>>>
>>>Report back with your findings,
>>>
>>>TCB
>>>
>>>"DJ" <notachance@net.net> wrote:
>>>>OK,
>>>>
>>>>First of all, my wife has the best ears in the family. I "always" get
>her
>>>>blessing on mixes because I know I can trust her ears. It's literally
>like
>>>>having an mastering engineer in the studio. Her ears are incredibly
>>>>good/sensitive and she's always right. Amy hasn't ventured up to the
studio
>>>>all weekend while I've been in my mad scientist mode and has been waiting
>>>>for me to get my head around getting a mix together for her to listen
>to
>>>in
>>>>SX.
>>>>
>>>>So I get something happening that I think sounds good and call her up
>to
>>>>give it a listen. I like it personally and I'm rocking out with my Steinberg
>>>>Houston controller, fader automation....all the cool bells and whistles.
>>>>System is running perfectly, etc. etc. I'm even thinking that I can use
>>>this
>>>>one for a while to see if I'll even need a more powerful rig it's soooo
>>>>stable. I'm feeling like I've finally found something I can live with
>>>>here.........soooooo.........she comes in to the control room and I start
>>>>playing back this 30+ track project.
>>>>
>>>>
>>>>Amy doesn't know squat about the finer points of recording/processing,
>>etc.
>>>>she just knows what she likes and doesn't give a flip about what it takes
>>>to
>>>>achieve it............so she's sitting there through the first half of
>>the
>>>>song and I can see a little frown start. She looks at me and says "is
>that
>>>>midi?........what's going on with this????.........it sounds like it's
>>midi
>>>>or something ......... sort of artificial...... and the whole thing sounds
>>>>harsh to me. Sorry honey but that's not gonna' work. I liked the old
>>>>system......what's wrong with it? Why are we changing?"
>>>>
>>>>Now this is coming from someone who would "love" to see me simplify things
>>>>around here as you guys can well imagine.
>>>>
>>>>OK.........so I guess I'll try the Pulsar
>>>>thing............^%$&*&^%$%^!!!!!!!!!!!!!!!
>>>>
>>>>;oP
>>>>
>>>>
>>>>
>>>>
>>>>
>>>
>>
>
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74334 is a reply to message #74290] |
Tue, 17 October 2006 17:18 |
Dedric Terry
Messages: 788
Registered: June 2007
|
Senior Member |
|
|
>>
>> 4.) Avoid the Cubase dynamics plugins like the plague. They
Before 4.0 yes, but the Cubase 4.0 plugins are actually pretty good.
The multiband comp is as good as the one in Sequoia/Samplitude, with a few
slight differences. There is also a "vintage compressor" in addition to the
normal comp. Both are improved over the previously useless comps. The new
EQs are also better. All the stock plugins work in multichannel too (VST3).
Still UAD, AirEQ, ElectriQ, Sonalkis and others are better for most things,
but don't hesitate to give the new C4 plugins a shot.
>> 5.) Mix down to 32-bit float, then, whether you dither or not,
>> sample-rate convert using r8-Brain or whatever your favorite SRC
>> is. Take advantage of the 32-bit capability!
>>
>> Neil
You probably didn't mean to combine the two, but fwiw 32-bit and SRC are
separate issues - you won't gain anything on SRC with 32-bit float vs. 24 or
16. You won't hear below 24-bit if even that, but no harm in using 32-bit
float, at least if you intend to master/post mix in a 32-bit float app. If
you are sending off for mastering, 24-bit is fine. Yes, SRC with r8Brain,
CEP/Audition, etc. Dither with POW-r, Cranesong, or CEP/Audition. That
said, the Apogee-branded dither in Nuendo is good, given that 98% of
dither's audible impact is psychoacoustic... ;-)
Regards,
Dedric
|
|
|
|
| Re: Thoughts from the wife vis-a-vis Paris vs Cubase SX. [message #74335 is a reply to message #74334] |
Tue, 17 October 2006 17:20 |
Nil
Messages: 245
Registered: March 2007
|
Senior Member |
|
|
Dedric Terry <dterry@keyofd.net> wrote:
>>> 5.) Mix down to 32-bit float, then, whether you dither or not,
>>> sample-rate convert using r8-Brain or whatever your favorite SRC
>>> is. Take advantage of the 32-bit capability!
>>>
>>> Neil
>
>You probably didn't mean to combine the two, but fwiw 32-bit and SRC are
>separate issues - you won't gain anything on SRC with 32-bit float vs. 24
or
>16. You won't hear below 24-bit if even that, but no harm in using 32-bit
>float, at least if you intend to master/post mix in a 32-bit float app.
Dedric, you're right, I left out mentioning mixing down at a
higher samplerate like 88.2k or 96k. 32-bit/88.2 or
32-bit/96k... that way you're giving yourself even more
headroom with the 32-bit float, and higher resolution on your
final mix with the 88.2 or 96k. Thanks for catching that!
Neil
|
|
|
|
Goto Forum:
Current Time: Tue Dec 24 15:44:14 PST 2024
Total time taken to generate the page: 0.01580 seconds
|
The PARIS Forums
Search
Help
Members
Register
Login
Home
