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| Re: lightpipe/ADAT input for laptops [message #77016 is a reply to message #77012] |
Wed, 13 December 2006 19:38   |
![Gene Lennon[4] is currently offline](/theme/PARIS_Forum_Template/images/offline.png "Gene Lennon[4] is currently offline")
Gene Lennon[4]
Messages: 26
Registered: November 2006
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Junior Member |
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"James McCloskey" <excelsm@hotmail.com> wrote:
>
>Hey Gene! It sounds like it could be usable if it's only around 3ms. I'm
>wondering about multi tracks. Please let me know more when you find out.
> What do you think of PT with it? Can you get 32 track of I/O in PT at
44.1,
>48K? It was unclear if it is stuck at 18 I/Os with PT at 44.1/48.
>
>Thanks
>James
>
I’m doing a mix right now that is stemming 16 out from PT to Paris for summing.
PT MP is hobbled at a max I/O of 18 by Digi, but it is possible to get a
“Paris” sounding mix with this setup even without more outputs.
The latency has no effect on this config. Paris is simply sitting there,
running in ‘Live Mix” mode. As usual, I am returning to the Mac for the 2-track
mix – in this instance its 2 channels in Pro Tools. Whatever the small amount
of latency is in this loop, it is not affecting my tightest mutes or delaying
any metering to the point that I can perceive it.
My choice for PT for this mix has to do with the complexity of the mix and
the fact that PT has the best options for editing and mix automation (for
me), and it integrates very nicely with my MotorMix.
I have the Oxford plugs running native in PT, so having an unlimited number
of Oxford plugs and Waves SSL plugs gives a lot of options. So far I like
this better than mixing from Logic or DP. The limited number of tracks (48
mono or stereo) and the limited I/O will force me to use other options in
some circumstances, but this setup benefits from many of Pro Tools strengths
and maintains most of the Paris depth. It’s what I’ve been preaching for
years.
I’m not sure I will have any way to verify the throughput latency. Both Performer
and Logic mess with the input timing just the way PT seems to do. I think
I’m out of options for verifying it, but I’m open for suggestions.
Gene
P.S. I’m also enjoying the Medodyne Plugin.
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| Re: lightpipe/ADAT input for laptops [message #77023 is a reply to message #77016] |
Thu, 14 December 2006 00:14 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
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Senior Member |
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Hey guys! Thanks for the info. Maybe Deej could pipe in with some test
ideas for the round trip thing.
Gene, are you sub mixing the PT 48 track down to 18 outs? At least there
are other software options for 32x34 I/Os.
Thanks again.
James
"Gene Lennon" <glennon@NOSpammyrealbox.com> wrote:
>
>"James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>Hey Gene! It sounds like it could be usable if it's only around 3ms.
I'm
>>wondering about multi tracks. Please let me know more when you find out.
>> What do you think of PT with it? Can you get 32 track of I/O in PT at
>44.1,
>>48K? It was unclear if it is stuck at 18 I/Os with PT at 44.1/48.
>>
>>Thanks
>>James
>>
>
>I’m doing a mix right now that is stemming 16 out from PT to Paris for summing.
>
>
>PT MP is hobbled at a max I/O of 18 by Digi, but it is possible to get a
>“Paris” sounding mix with this setup even without more outputs.
>
>The latency has no effect on this config. Paris is simply sitting there,
>running in ‘Live Mix” mode. As usual, I am returning to the Mac for the
2-track
>mix – in this instance its 2 channels in Pro Tools. Whatever the small amount
>of latency is in this loop, it is not affecting my tightest mutes or delaying
>any metering to the point that I can perceive it.
>
>My choice for PT for this mix has to do with the complexity of the mix and
>the fact that PT has the best options for editing and mix automation (for
>me), and it integrates very nicely with my MotorMix.
>
>I have the Oxford plugs running native in PT, so having an unlimited number
>of Oxford plugs and Waves SSL plugs gives a lot of options. So far I like
>this better than mixing from Logic or DP. The limited number of tracks (48
>mono or stereo) and the limited I/O will force me to use other options in
>some circumstances, but this setup benefits from many of Pro Tools strengths
>and maintains most of the Paris depth. It’s what I’ve been preaching for
>years.
>
>I’m not sure I will have any way to verify the throughput latency. Both
Performer
>and Logic mess with the input timing just the way PT seems to do. I think
>I’m out of options for verifying it, but I’m open for suggestions.
>
>Gene
>
>P.S. I’m also enjoying the Medodyne Plugin.
>
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| Re: lightpipe/ADAT input for laptops [message #77033 is a reply to message #77030] |
Thu, 14 December 2006 07:46 |
Gene Lennon[4]
Messages: 26
Registered: November 2006
|
Junior Member |
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"Neil" <IOUOI@OIU.com> wrote:
>
>Hey Gene... what type of remote recording are you doing with
>your laptop, mostly? Live bands at clubs & festivals? Nearby
>symphony orchestras with a lotta spot-micing?
>
>Sounds like you have a serious out-of-studio setup there.
>
>Neil
>
Running my MacBook Pro to see how far I could push it was primarily academic.
For my own production work 48 is typical with occasional songs going into
the 80-90-track range.
I don’t do a lot of traditional remote work. (I did when I was young.)
I have started many tracks in commercial studios over the years, and still
do. With this setup I can bring my laptop with reference tracks and click
tracks already prepped and just plug into the house converters and go. At
end of session unplug and leave.
I also wanted to take “works in progress” with me for editing, arranging
and even adding new parts when I’m away from my home setup. This is where
the power is important. If I am working on a song with 50 tracks and I want
to add a VSTI part or two, previous generations of laptops would fail. On
a recent session I was re-arranging the song on my laptop while the first
passes of the recording were starting. I had a new version of the song ready
with both tracks and sheet music to pass to the studios Pro Tools HD rig
and musicians in just a few minutes.
And when I’m at home I have one more very powerful computer that can be a
Logic Node, a rack of soft synths, or 20 convolution reverbs.
Gene
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