| PARIS project released [message #62321] |
Tue, 03 January 2006 20:50  |
Jim Romanow
Messages: 2
Registered: January 2006
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Junior Member |
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>>>>
>> >>>>
>> >>>>>>folders are set up for sharing, the sub directories and the folders
>> >>>>
>> >>>>within
>> >>>>
>> >>>>
>> >>>>>>these subdirectories have somehow been set to where I have to go
> into
>> >>>>
>> >>>>every
>> >>>>
>> >>>>
>> >>>>>>subdirectory level and set each folder to share. This machine is
>> >>
>> >>running
>> >>
>> >>>>>>Windows ME. I have literally hundreds of subdirectories and sub-sub
>> >>>>>>directories within my main directories. How could this happen?
>> >>>>>>Prior
>> >
>> > to
>> >
>> >>>>>>hooking up this new DAW, I just set my main directories to share on
>> >>
>>
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| Re: PARIS project released [message #62351 is a reply to message #62321] |
Wed, 04 January 2006 06:43  |
jef knight[1]
Messages: 201
Registered: October 2005
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Senior Member |
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convoluted.
>>>>Moves that come easily in Paris, and more easily in Nuendo, are tiresome
>>>in
>>>>PT, apart from the reagon tool...taht has always been good, right from
>>the
>>>
>>>>Session 8 days, but not much else.
>>>>And..it only plays .MOV video files, which in my case is a no-no, (the
>>full
>>>
>>>>TDM version may play the others but I don't think so).
>>>>To top it off, playing one of my projects from Nuendo, (reassembled),
>it
>>>
>>>>didn't have the "life" that the original had, by a long shot.
>>>>I repeat...don't go there, Jeff......
>>>>--
>>>>Martin Harrington
>>>>www.lendanear-sound.com
>>>>
>>>>"jef knight" <thestudio@allknightmusic.com> wrote in message
>>>>news:436fce7a$1@linux...
>>>>>I just read the doc, thanks for posting the link. Much of it is quite
>>
>>>>>interesting and just as much is confusing.
>>>>> I didn't know tdm systems sounded gnarly, never having worked with
one.
>>>At
>>>>> what track count would they sonically crap out?
>>>>>
>>>>> If I can't get some of my tedious little troubles with paris resolved
>>>I'm
>>>>> considering switching to protools.
>>>>>
>>>>> jef
>>>>>
>>>>> DJ wrote:
>>>>>
>>>>>> http://akwww.digidesign.com/support/docs/WhitePaper_48BitMix er.pdf
>>>>>>
>>>>>>Any comments? It appears to me that the signals are recorded at 24
>>>>>>bit, then processed at whatever bit rate the plugin on the channel
has,
>>>>>>including dither, or not, then reprocessed to 24 bit, then these channels
>>>>>>are summed. I'm no guru when it comes to this stuff, but I get this
>
>>>>>>feeling
>>>>>>that this reprocessing *per channel* is the reason the TDM systems
seem
>>>to
>>>>>>start sounding gnarly as more and more tracks are summed.
>>>>>>
>>>>>>
>>>>>>
>>>>
>>>>
>>>
>>
>Hi Pete,
We're going through the same
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| Re: PARIS project released [message #62430 is a reply to message #62321] |
Wed, 04 January 2006 17:36 |
Ed
Messages: 199
Registered: February 2006
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Senior Member |
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"_blank">na@na.na> wrote in message news:43bc5bcf$1@linux...
>
>>Haven't seen one of these new in a while...
>>
>>http://www.music123.com/Ensoniq-PARIS3-i228172.music
>
>
>This is a multi-part message in MIME format.
------=_NextPart_000_0146_01C61174.3CC1A500
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
RK,
I've never used an out of phase signal for this purpose. I have
used something similar though. Copy lead vocal track to an
adjacent channel, pan each hard lft-rt, move the left track a =
millisecond or
even less back in time. The vocal should widen without sounding
processed. Keep their faders equal level. Your ear will naturally hear =
the
earlier track (lft) first and perceive that it's louder. If you feel =
that's disconcerting=20
try raising the right to level it out. This may decrease the =
effectiveness of the=20
process though.
Another way to get it to sound more present is to double
compress the track with comps in series but only reducing by 2 or 3db =
each.
Sometimes a third comp is needed along with level automation. The idea
is to not hear pumping but have a fairly steady state level to the =
vocal.
This will allow you to get it to ride on top of the mix without jumping =
out
to bite you.
"RK" <kent510745@hotmail.com> wrote in message news:43bc7a43@linux...
Trying to get lead vocals to jump out of the mix and I remember a =
trick
listed somewhere telling you to copy a vocal track to a different =
track, pan
tracks left and right, then reverse the phase on the second track and =
slowly
bring the fader on the second track to meet the other track fader at =
0.
Seemed to work, but the effects seemed to cancel each other out. Does
anyone use this, and if so, how do you get the FX to not whack each =
other
out?
RK,
Only apply effects to the +phase track.
Tom
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>RK,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I've never used an out
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| Re: PARIS project released [message #62432 is a reply to message #62361] |
Wed, 04 January 2006 18:39 |
Jim Romanow
Messages: 2
Registered: January 2006
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Junior Member |
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Arial size=3D2>This will allow you to get it to ride =
on top of the=20
mix without jumping out</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>to bite you.</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"RK" <<A=20
href=3D"mailto:kent510745@hotmail.com">kent510745@hotmail.com</A>> =
wrote in=20
message <A =
href=3D"news:43bc7a43@linux">news:43bc7a43@linux</A>...</DIV>
<DIV>Trying to get lead vocals to jump out of the mix and I remember a =
trick<BR>listed somewhere telling you to copy a vocal track to a =
different=20
track, pan<BR>tracks left and right, then reverse the phase on the =
second=20
track and slowly<BR>bring the fader on the second track to meet the =
other=20
track fader at 0.<BR>Seemed to work, but the effects seemed to cancel =
each=20
other out. Does<BR>anyone use this, and if so, how do you get =
the FX to=20
not whack each other<BR>out?<BR><BR><FONT face=3DArial =
size=3D2>RK,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Only apply effects to the +phase=20
track.</FONT></DIV>
<DIV><FONT face=3DArial =
size=3D2>Tom</FONT></DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0146_01C61174.3CC1A500--So you hook the BNC from the MEC out (external clock) into the 442? I'm
confused as to how Paris interprets this and what the end result is.
Another 4 inputs? Can the 442 be assigned to submix 2 while the MEC is on
submix 1?
Do you need to configure anything, or will Paris automatically pick it up?
Are you using any special type of BNC cable (I think there are a couple
different kinds?) Who is John Galt?
KentThis is a multi-part message in MIME format.
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Cool, I'll give that a try.
Tom, didn't you used to be
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