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| Re: noLIMIT help wanted [message #59764 is a reply to message #59763] |
Mon, 31 October 2005 15:06   |
Tony Benson
Messages: 453
Registered: June 2006
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Senior Member |
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y outboard gear, so...
Man, I'll tell you straight-up: you ain't played till you've played through
really good gear. It makes all the difference. It just makes everything so
much easier, in that "wow I can't believe I ever thought it could work any
other way" kind of way.
That was waaay too many words. Thanks to DC for the compliment, btw. It may
end up in a song, but then I've got stacks of lyrical bits and pieces laying
around.
BTW, you can study any of those "Classic Albums" DVDs and in each case the
engineer will inevitably just push up the faders on a copy of the original
master tapes and say to the camera: "It just mixes itself, doesn't it?" It
is astounding to hear, say, Fleetwood Mac's rhythm section isolated.
Unfuckingbelievable. Or Stevie's drums on a song from "Key of Life"....good
lord...it was played that way, you know?
Jimmy
"cujo" <
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| Re: noLIMIT help wanted [message #59765 is a reply to message #59764] |
Mon, 31 October 2005 16:53 |
Yanoska
Messages: 32
Registered: January 2007
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Member |
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t="_blank">chris@nospamapplemanstudio.com> wrote in message
news:43668989$1@linux...
>
>
> So are you using any EQ at mixdown?
> If so are you goin in to hardware?
>
>
>
> "uptown jimmy" <johnson314@bellsouth.net> wrote:
> >I have both. They call it the MP2EQ, or something like that, a single
> >channel of each racked side by side. I have them patched seperately in my
> >patch bay so I can use the EQ as a send from Paris.
> >
> >Look, I don't want to piss on the parade of anybody who can't afford the
> >good stuff. I've been there myself, I know how it feels.
> >
> >But my experience with DAW plugins has been anything but pleasurable.
I've
> >been training my ear since I was four years old, at least as an
audiophile,
> >and my journey as a studio-rat has been slowed and frustrated no end by
> >years of time wasted trying to get the sounds I know are possible to get,
> >but without having the gear necessary to make those sounds happen. It
took
> >me years to realize that part of my problem was plugins. I consider them
> a
> >scam perpetrated on innocent musicians who don't know better.
> >
> >High-end outboard gear is expensive for a reason. And, in this case at
> >least, you get what you pay for. It just sounds so fucking good. There's
> no
> >cloudiness, no endless tweaking, no lingering feeling of dissatisfaction,
> no
> >weird phasing sounds, no flatness; just sweet, clean, art-inducing
> >rightness. Well worth the money.
> >
> >I mean, sure you can get yourself a $200.00 guitar and set about lea
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| Re: noLIMIT help wanted [message #59770 is a reply to message #59767] |
Mon, 31 October 2005 21:47 |
Yanoska
Messages: 32
Registered: January 2007
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Member |
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t;> Now using wormhole as insert I have not achieved synced results, maybe
I
>> am doing something wrong, Gene might jump into this, but my few tests
>could
>> not achieve synced results.
>> By the first way of using wormhole you have to note the following.
>> The tracks inside Paris that are wormholed are around 4000 samples apart
>> from audio tracks not wormholed, but from within cubase if you want hear
>> audio tracks along with audio tracks in Paris (not handy at all I guess)
>> you need to dleay (from inside wormhole host slider) the wormholing tracks
>> for 32756 samples which is a default anyway inside wormhole for best
>networking.
>> So to make things a little bit clearer.
>> If you have say 48 audio tracks inside Cubase and you are ready to mix
,
>> you put all your DX/VST etc effects from there and then subgrouping them
>> down to 24/32 (whatever your system permits as wormhole instances) and
>then
>> send them inside Paris to use the Paris mix engine and EDS effects.
>> In this way you don't care about the latency difference beetween audio
>tracks
>> in Paris and wormholed tracks.
>> First of all Cubase compensates automatically.
>> Note though that this extra compensation with host slider is ONLY needed
>> if you wanna hear at the same time tracks from Cubase and tracks from
>Paris.
>> BUT in the above scenario you 'should" not need to hear both , that cannot
>> mix your song right ?
>> You only need to hear the end wormhole instances inside Paris and from
>then
>> use your automation EDS effecting volume slamming, whatever.
>> If you think well you can only do that with wormhole I would answer this
>> would be a dream a year ago for Paris right ?
>> So I am a firmly believer that wormhole even doing only that (that could
>> change with updates or further tests though) is well worth it the 49
>bucks.
>> If you have cpu's over 3 gb with 1000 lan you could achieve maybe 48
>wormhole
>> instances fully synced...
>> Regards,
>> Dimitrios
>>
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >Can I use Wormhole with a standalone VST rack of some sort to route audio
>> >from a Paris insert or aux, though the VST rack and then return it to
>> >Paris..........with 40ms latency?? I will want to use my 4 x UAD-1 cards
>> in
>> >the VST Rack and I will need low enough latency in Paris that I can keep
>> my
>> >tracks in Paris and use the Paris mix automation without problem. I
>think
>> I
>> >saw Dimitrios post here that he had achieved somewhere around 40ms
>latency
>> >using the FXPansion VST/DX wrapper
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| Re: noLIMIT help wanted [message #59777 is a reply to message #59770] |
Tue, 01 November 2005 07:00 |
Rod Lincoln
Messages: 883
Registered: September 2005
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Senior Member |
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;>
>> I am now regularly sending both analog and digital signals to my outboard
>> gear. I refuse to jump through the Paris/UAD-1 hoops, and none of the
native
>> plugins sound remotely comparable to my outboard gear, so...
>>
>> Man, I'll tell you straight-up: you ain't played till you've played through
>> really good gear. It makes all the difference. It just makes everything
so
>> much easier, in that "wow I can't believe I ever thought it could work
any
>> other way" kind of way.
>>
>> That was waaay too many words. Thanks to DC for the compliment, btw. It
may
>> end up in a song, but then I've got stacks of lyrical bits and pieces
laying
>> around.
>>
>> BTW, you can study any of those "Classic Albums" DVDs and in each case
the
>> engineer will inevitably just push up the faders on a copy of the original
>> master tapes and say to the camera: "It just mixes itself, doesn't it?"
It
>> is astounding to hear, say, Fleetwood Mac's rhythm section isolated.
>> Unfuckingbelievable. Or Stevie's drums on a song from "Key of Life"....good
>> lord...it was played that way, you know?
>>
>> Jimmy
>>
>>
>>
>> "cujo" <chris@nospamapplemanstudio.com> wrote in message
>> news:43668989$1@linux...
>>
>>>
>>>So are you using any EQ at mixdown?
>>>If so are you goin in to hardware?
>>>
>>>
>>>
>>>"uptown jimmy" <johnson314@bellsouth.net> wrote:
>>>
>>>>I have both. They call it the MP2EQ, or something like that, a single
>>>>channel of each racked side by side. I have them patched seperately in
my
>>>>patch bay so I can use the EQ as a send from Paris.
>>>>
>>>>Look, I don't want to piss on the parade of anybody who can't afford
the
>>>>good stuff. I've been there myself, I know how it feels.
>>>>
>>>>But my experience with DAW plugins has been anything but pleasurable.
>>
>> I've
>>
>>>>been training my ear since I was four years old, at least as an
>>
>> audiophile,
>>
>>>>and my journey as a studio-rat has been slowed and frustrated no end
by
>>>>years of time wasted trying to get the sounds I know are possible to
get,
>>>>but without having the gear necessary to make those sounds happen. It
>>
>> took
>>
>>>>me years to realize that part of my problem was plugins. I consider them
>>>
>>>a
>>>
>>>>scam perpetrated on innocent musicians who don't know better.
>>>>
>>>>High-end outboard gear is expensive for a reason. And, in this case at
>>>>least, you get what you pay for. It just sounds so fucking good. There's
>>>
>>>no
>>>
>>>>cloudiness, no endless tweaking, no lingering feeling of dissatisfaction,
>>>
>>>no
>>>
>>>>weird phasing sounds, no flatness; just sweet, clean, art-inducing
>>>>rightness. Well worth the money.
>>>>
>>>>I mean, sure you can get yourself a $200.00 guitar and set about learning
>>>
>>>to
>>>
>>>>play it, try to make some art with it. But the moment you pick up a
>>>>$1,000.00 guitar, you know the difference. It's infinitely easier to
>>
>> play,
>>
>>>>it sounds infinitely better, and it records infinitely better. It's just
>>>>that simple.
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