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| Re: How to use the 24 bit converters ? [message #104940 is a reply to message #104938] |
Tue, 02 March 2010 16:49   |
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A few notes:
The built-in convertors of the MEC are 20 bit; the 8i and 8o expansion cards are 24-bit. The PARIS clock and converters are excellent for their vintage, but in the big picture a high-quality external clock's been suggested as a good upgrade, and some have reported good results with higher-quality A/D convertors as well.
I think a lot of folks over the years have found that PARIS suggests more of a "warm" or "vintage" or "analog-like" sound, as compared to say Apogee convertors which I tend to think of as "shiny" or even "crystalline". I find it "punchy" - it treats my bass like I want bass to be treated.
The mix bus of PARIS is widely considered one of PARIS' best features - certainly head and shoulders above many DAWs.
If your son's a programmer, he may find this interesting.
"... being bitter is like swallowing poison and waiting for the other guy to die..." - anon
[Updated on: Tue, 02 March 2010 20:34] Report message to a moderator |
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| Re: How to use the 24 bit converters ? [message #104988 is a reply to message #104987] |
Wed, 10 March 2010 12:19 |
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LOL. Yeah - that'd certainly explain ADATs sounding better than *anything*, up to and including dead silence - and particularly PARIS.
Wasn't there some story about SSC having a shooting range out back of his house where folks were invited to bring Alesis equipment for shotgun practice?
"... being bitter is like swallowing poison and waiting for the other guy to die..." - anon
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| Re: How to use the 24 bit converters ? [message #104994 is a reply to message #104938] |
Thu, 11 March 2010 05:22 |
damien
Messages: 36
Registered: October 2008
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BTW trisound (or anyone else) :
I'm very curious to hear your opinion about recording on two inches or on digital, as you are able to compare it in same room. More about sound than workflow aspects.
In fact i wonder what are the reasons for using digital rather than a properly set up tape machine, if you have access to both solution. I can guess it could be cost of tape (this one is a real), analog recorder maintenance (but what, how many hours did we spent tweaking computers ?), ability to fix bad playing (mm yes but, why recording a bad perfomrmance ? anyway, it can not really be fixed, i learned it the hard way), hiss (OK). Probably the most important reason is when you have to deal with huge track counts, and lot of automation.
anyhow, i'd be glad to hear about this.
And don't get me wrong paris guys : i took paris because it was and is still the best solution fitting my budget. there's no question about the fact it sounds good.
[Updated on: Thu, 11 March 2010 05:47] Report message to a moderator |
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| Re: How to use the 24 bit converters ? [message #104995 is a reply to message #104994] |
Thu, 11 March 2010 06:33 |
TriSound Recording
Messages: 55
Registered: December 2009
Location: Federal Way, Wa.
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Well I like both and also use them together (not always).
For my personal recording, Yea bring on the 2" tape machine.
There is nothing like the sound of 2" tape on a drum set.
I'm sorry it just has that compressed sound you can't (Yet)
get on a draw. It's getting closer.
Tape is not cheep (at all) and hard to get today.
With the impact on mother earth they have to chance the
way they can build tape. Before long there will be no supplier's
for tape and it will only be draws.
Yes you have hiss, but that can be taken care of with the draw.
I like to hit the tape and then take it to the computer for editing. Adding more tracks that sound supper clean.
So yea I do it both ways still (for now).
You know you can't bet the speed and prefect editing with the computer software. I love both & hate them at the some time.
Both have there own problems as you said. (hiss, computer- problems, software clinches, Heads needing relaped, parts you can't even get for some older 2" machines. Which is most now.
You know you have to listen to some of Steely Dan, Yes, and some of the great Jazz, blues player of the 70's & 80's a lot of fine recording. Most of was 2" machines. Then again there was also
poorly recorded albums too.
I just don't like, lets slam all the records into the red all the time. Call me old but I like dynamics in my music. It's fine for some music but not every thing.
Let's get back to quality and not quantity. To me great sound is every thing. Also nice to have performers that know how to play too.
"You will have to pry my 2" recorder & Paris Pro out of my cold dead hands first."
Cheers,
Jeff
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| Re: How to use the 24 bit converters ? [message #104998 is a reply to message #104938] |
Thu, 11 March 2010 09:09 |
damien
Messages: 36
Registered: October 2008
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Jeff, i remember when i was 20 : i already liked what a simple 1/4" 4 tracks did on my lame drums tracks.
but i've never used any tape machine since. Only played on an album cut live on 2" (tascam) and mixed on an amek. Sound was good. But i also heard some bad sounding records from same studio same tech. He was mostly a rock n roll guy, and we were a rock and roll band so ...
If i get your point, sonically the main advantage of tape is how it behaves with drums transient. A kind of processing before you dump to digital. Some others praise analog as an accurate recording media. They feel loosing something when sound come back from a digital device.
If you can deal without hard core editing, don't you choose analog from end to end ? (regardless the style of the music). Does'nt it glue the things together, and make music easyer to mix from your standpoint ?
BTW, to stay a little in topic, i feel paris tame the high end. Not a roll off, something more subtile, and that's maybe a reason why it's known as an "analog sounding" system. It's obvious if i compare with m audio ADDA for example. Those sounds really hard, i don't like at all.
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| Re: How to use the 24 bit converters ? [message #105000 is a reply to message #104990] |
Thu, 11 March 2010 09:52 |
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| TriSound Recording wrote on Wed, 10 March 2010 14:08 | Yep that would explain the whole story.
Is there a range for shooting A-dats? Maybe not
yet. They are still the stellar king to (my wife).
If we ever divorce she can take them and I will take
the paris. Seems only fair.
Cheers,
Jeff
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I did a little hunting around for the source of the story I just relayed about SSC and it seems I misremembered some important details. In the version of the story I could find, it was a Lexicon 480L and the weapon was a .44 
"... being bitter is like swallowing poison and waiting for the other guy to die..." - anon
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and also my 1977 Soundcraft Series
