|
Alain Perdrix posted:My Audio Technica headphones are dying on me. What's the best option for studio headphones sub-$100? I know that's not a great price range to work with, but it's where I find myself at the moment. keyframe posted:I am not aware of a sub $100 studio headphone. Hogscraper recommended me these and I picked them up. I have had no problems with them, best headphones I've ever had.* http://www.amazon.com/AKG-K77-Headphones/dp/B00187PRFC/ref=sr_1_1?ie=UTF8&qid=1322192539&sr=8-1 *I've only ever used $20 pieces of poo poo from best buy. The Shep fucked around with this message at 14:51 on Mar 5, 2012 |
#
?
Mar 5, 2012 14:43
|
|
|
|
| # ? May 15, 2024 15:59 |
|
|
Cmdr. Shepard posted:Hogscraper recommended me these and I picked them up. I have had no problems with them, best headphones I've ever had.* Great, I'll look into these. Thanks!
|
|
#
?
Mar 5, 2012 19:16
|
|
|
Cmdr. Shepard posted:Hogscraper recommended me these and I picked them up. I have had no problems with them, best headphones I've ever had.* Yea AKG makes great headphones. I was not aware they had a $50 moodel. I have been using my AKG K141's for everything for years now.
|
|
#
?
Mar 5, 2012 19:45
|
|
|
Sony MDR7506s are under $100 (barely), probably the most popular cans for pro audio folks, and they're also probably twice as loud as any other "pro" cans I've ever used when driven by a weak headphone output.
|
|
#
?
Mar 5, 2012 20:16
|
|
|
Alain Perdrix posted:Great, I'll look into these. Thanks! Also, what wixard said. All of those Sony cans are super sensitive which is great if you're plugging into a weak amp. Though, I haven't ran into any level problems with AKG cans as they seem to be pretty sensitive as well. The Sony stuff, as a whole, handles a lot more power on the receiving end as well and if you're in a situation where you need a really loud set of headphones the Sony stuff is second to none. They are what I would recommend to live DJs. Also, please wear earplugs underneath your headphones if you're going to have them cranked in a live situation. Please please please. Hogscraper fucked around with this message at 20:52 on Mar 5, 2012 |
|
#
?
Mar 5, 2012 20:50
|
|
|
Thanks for the advice, guys. I basically just want them for recording at night and so on, without being too loud for the neighbours. I don't tend to use headphones live. For mixing and stuff, I have a pair of monitors.
|
|
#
?
Mar 5, 2012 22:11
|
|
|
@Hogscraper and @wixard I'll be blunt in what I'm looking for, I'm looking for an interface with 4 to 8 channels with built in mic preamps so I can get a fairly good "picture" of drums but also track guitar and bass while we're at it for scratch tracks. This is where I start to get overwhelmed, as it seems that anything in my price range (~600 but it's flexible) is deemed not worth it (M-audio, Presonus, Focusrite) but if I want to "go pro" then it's the same old problem of "Want all the gear, can't afford it" so I have to decide what I invest in in the right-now and what I can put off, and it looks like I'll be left with the same decision my dad made (Went with the Delta 1010 interface, is using a Behringer 8 channel mixer for his mic preamps). So, while I want to make good sounding demos for me and my friends, should I say "gently caress it" and not really worry about all this "Pro Gear" and "Amateur Gear" and just get something that at the end of the day, sounds good my ears and is reliable? Right now, say within the next 5 years, I'm still looking at commercial studios to go and record my band's next full length, I understand that the amount of gear they have will still make it sound hundreds of times better than whatever I produced, even if Alan Parsons gave me a Vulcan Mindmeld... Hogscraped, regarding the room: It's a difficult situation as the rehearsal space I'm in now will be gone at the end of May. Our guitarist and drummer are moving into a loft, but I haven't seen it yet, but they say it has high ceilings and are thinking about putting up some dry wall to section off a rehearsal/recording area. The room that I have access to now is about 12x14 feet with about 10' high ceilings, but these are rough estimates. It's the studio at the University I'm enrolled in, and the Communications department spend a bunch of money on Auralex foam things like bass traps for the corners and wall foam to help the reflections. For a rig they're using a Digi 003 with a Presonus Digimax 8 channel preamp into Pro Tools 8 Am I just over thinking this whole thing completely? It seems the more I think about this the more I can hear my brain saying if I just make good recordings it doesn't matter what gear I used for the process. Also, I've been making lengthy posts in this thread lately, so thank you two very much for being patient. Edit: gently caress it lets talk about monitors. I've heard arguments for having dedicated studio near-fields but I've also heard arguements for just using a pair of speakers that you know the sound of. Thoughts? Noise Machine fucked around with this message at 23:54 on Mar 5, 2012 |
|
#
?
Mar 5, 2012 23:11
|
|
|
And I like to post lengthy replies when I'm bored and waiting on things to render or upload! If your budget isn't that big and you absolutely have to have that many channels I'd look into an Focusrite OctoPre. No, the Focusrite stuff isn't my favorite because it's a little sterile and bland sounding. However, it's going to be a huge step up from the circuits in that Behringer mixer. The OctoPre isn't an interface and you'll still have to interface it with the Delta. To add to the pro vs amateur gear discussion. Pro gear you usually buy once and if you do get rid of it there is some resale value left in it which you can take and put into other pro gear. Amateur gear you will outgrow rather quickly and when you want to get rid of it you'll only get pennies on the dollar for it so you've essentially thrown your money away. Better to buy some choice quality gear over time as you need it than to buy a bunch of cheap junk all at once. Also, It sounds like the University you're enrolled at has no idea how to spend their money.  A room is always going to have a specific sound and that sound is a combination of it's size, shape, and materials. Tuning a tracking room is changing these characteristics to produce something that is pleasing on a recording. (There is a reason most tracking rooms have wood everywhere!) Tuning a mixing/mastering room is a different approach with the goal of producing a linear frequency response from your monitoring setup. Tuning a room for mixing/mastering is a wild beast because it involves specific placement, testing, and a lot of trial and error. If all you're looking to do is control your tracking room you're in luck because you have some cheap options as portable gobos and diffusers are easy to build yourself even if you're a novice when it comes to that sort of thing. A gobo is essentially a portable bass trap and all they're made of is a wood frame stuffed with certain types of fiberglass and covered with fabric. Lurk around here http://www.gearslutz.com/board/studio-construction-acoustics and you'll find several plans for homemade bass traps and diffusers. One of the most popular diffuser plans is one published by the BBC way back when and you can find plans for it simply by Googling BBC Diffuser! You can make your tracking room drat near disappear if you shove your mic up into a gobo. Diffusers are more for placing near the mic so you don't get a hard reflection. You still get a room sound but it sounds a little more lush rather than a hard slap. Here is an amazing video taken in my friend Jacob's studio that really illustrates how a room affects a recording. https://www.youtube.com/watch?v=eLjyAJTSVnk PS: His band, The Frankl Project, is one of the most dynamic/amazing bands I've ever seen live. Worth checking out if you're in my neck of the woods. Also, monitors... Yeah, knowing your speakers and how they translate is, in my opinion, more important than the amount of money that you've spent on them. But, if they don't reproduce things like low frequencies very well they're not going to be very useful in a mixing context. The other thing is even if they're reproducing low end they may not be doing it very accurately or with a tuned bass reflex port which essentially gives you one note bass which is also useless in a mixing context. You want a speaker that, first and foremost, is going to give you a really dynamic, open, and predictable mid range because that's really the most important aspect of the frequency range to get right. Followed up with a way to reproduce the low end accurately which most people do with a combination of a subwoofer and mixing room treatment. If you went out today and bought a pair of high end Genelecs and did a mix on them right away it probably wouldn't make your mix much better but as time goes on and you listen to a lot of music on them and develop an ear for them you are definitely going to hear an improvement over your Sony boom box speakers w/ ULTRABASSMAXX!!! Hogscraper fucked around with this message at 00:51 on Mar 6, 2012 |
|
#
?
Mar 6, 2012 00:41
|
|
|
Noise Machine posted:I'll be blunt in what I'm looking for, I'm looking for an interface with 4 to 8 channels with built in mic preamps so I can get a fairly good "picture" of drums but also track guitar and bass while we're at it for scratch tracks. I've said it before, but audio gear is dirt cheap to rent. The absolute last job I would ever want in the audio business is "guy who owns gear and tries to rent it out to make a living," because a concert with almost a million total in gear (retail cost) is like $1800 to rent for the day on the weekend. Do you know anyone with a project studio setup that can already track drums? The other thing is if you only need to track drums and you can do everything else, why not spend a week in a project studio laying down the rhythm tracks instead of trying to buy the inventory to do it? The only commercial studio job I had, basically all I did was track drums and grand piano for people who couldn't do it at home. Hogscraper posted:Also, It sounds like the University you're enrolled at has no idea how to spend their money.
|
|
#
?
Mar 6, 2012 03:48
|
|
|
Yeah, good idea! I don't know why that slips my mind all the time. Do what wixard said! To give you an idea there is a guy locally who will rent me a rack with 2 Neve 1073s, 2 Neve 1081s, 2 API 512Cs, 2 1176 blackface compressors, an EAR 660 compressor, a REAL Neumann U67 with a Stephan Paul pre, and a Royer 121 ribbon mic all together in a kick rear end tracking package. The cost? $125 USD for 1 week! It's effin' amazing and all the gear is gone over and serviced/replaced regularly as needed. Edit: If you're in the Cincinnati, OH area check this guy out... http://www.auraphic.com wixard posted:This is often the case, unfortunately. I actually get regular consultation checks from a couple of small colleges because they've realized their inventory is absurd from people before them just buying dumb poo poo, and they realize they don't know what to buy with all the money the college has to spend. The tracking room is so dead it's impractical for anything but voiceovers. I'm sure it cost a pretty penny to make it that way. Every inch of the place is covered in dull grey colored trapping. Maybe it would be good if you wanted to track drums for a disco throwback or something. The gear is where they really went wrong. Every boring, bland, over priced piece of gear you could dream of... Avalon pres? They got 'em! Everything new, nothing classic. Insane ProTools HD rig loaded up with every amazing Waves and UAD plugin that, again, I think is useless because all the sounds you could route into the thing are garbage to start with. It would be a nice studio to mix in, though. Like, really great. Hogscraper fucked around with this message at 04:37 on Mar 6, 2012 |
|
#
?
Mar 6, 2012 04:26
|
|
|
Again, @Wixard and @hogscraper: So what I'm getting out of this is that a tracking room doesn't really have to be "tuned", except with some gobos or isolation to minimize the room sound. With everything I've heard and read about getting a good drum sound is you have to start with a good sounding room. From my experience recording my band's debut, the biggest thing I've learned so far is "garbage in, garbage out" right down to "if it sounds like poo poo in the room it's gonna sound like poo poo on tape". So shouldn't you treat the room with things to absorb the sound, to at least get a fairly "neutral" sound room? It makes sense to me to have the control room/mixing room be acoustically treated. This is where I think my problem, or questions, split off into two different groups. First, I actually don't have access to the delta1010 on a regular basis, but I am looking at what my next computer is going to be. I'm using a macbook but am not happy with the walled garden approach to their hardware. I know the standard answer is "get a mac" but I'm just exploring my options, but right now I am just a musician who wants to improve his engineering skills and wants to record his friends for a six pack of beer or someday a nice mic. The second is actually that the topic of doing the tracking outside of a commercial studio has come up. Our sax player actually did live sound and field recording for a musicologist/music therapy conference in Toronto and told us about the wonders of rented gear, and one of the bands we've played with recorded with a local freelance engineer with nice results (although our drummer says he rarely finds a snare sound on record he likes) I'm located in New England, but I'm sure we can find a place that rents gear. It definitely would save the cost of the production of the album. If you guys wanna take this to a PM to not clog up the thread I'd be fine with that.
|
|
#
?
Mar 6, 2012 06:35
|
|
|
Noise Machine posted:So what I'm getting out of this is that a tracking room doesn't really have to be "tuned", except with some gobos or isolation to minimize the room sound. With everything I've heard and read about getting a good drum sound is you have to start with a good sounding room. From my experience recording my band's debut, the biggest thing I've learned so far is "garbage in, garbage out" right down to "if it sounds like poo poo in the room it's gonna sound like poo poo on tape". So shouldn't you treat the room with things to absorb the sound, to at least get a fairly "neutral" sound room? It makes sense to me to have the control room/mixing room be acoustically treated. In a mixing environment, you're looking for a totally objective reference so you need to worry about making your control room neutral. If a tracking room sounds so bad it's difficult to understand someone talking across the room (really boomy, really echo-ey) you should address that, but you aren't measuring anything in a tracking room. Creating a perfect room, then tuning the drums perfectly, and then capturing that perfectly with mics isn't necessarily the most efficient way to get what you want even if it's within your budget. If you're unsure about your room or the placement of drums/gobos/etc, you could try setting up just the overheads and listening to them as you try other things (you could maybe do this to "audition" some random recording spaces before you rented anything if you went that route). You can also try placing the overheads in front of or behind the kit facing it at head height or lower, but that usually doesn't work if the room is a problem. If you can make them sound decent, the rest of the mics will have much less bleed from the room relative to that. If there are obvious issues you think maybe some blankets or foam will fix, go for it, but there are a lot of good sounding local records all over that come out of basements and rehearsal spaces, I don't think it's always necessary to treat your cutting room like a control room. quote:I'm using a macbook but am not happy with the walled garden approach to their hardware.
|
|
#
?
Mar 6, 2012 16:46
|
|
|
I recorded a grand piano for the first time yesterday. I read up on and watched tons of tutorial videos and went with a simple stereo mic placement on the left and right sides, approximately 1 foot from the harp. The recording has very subtle but noticeable mechanical sounds from the player operating the sustain pedal. There is no way to re-record, and I absolutely need to use the take I got. What options do I have here? Run a high pass filter or something? In the future, how do I avoid something like this? Micing the room wasn't an option because of the room acoustics/reflections. edit - A high pass filter and some targeted EQ helped a bit, I guess I'll just need to try better mic placement in the future. The Shep fucked around with this message at 20:13 on Mar 7, 2012 |
|
#
?
Mar 7, 2012 16:47
|
|
|
Cmdr. Shepard posted:I recorded a grand piano for the first time yesterday. I read up on and watched tons of tutorial videos and went with a simple stereo mic placement on the left and right sides, approximately 1 foot from the harp. Why are you so desperate to avoid the sustain pedal sounds? You record a real grand so you have the sound of a real grand in the recording, pedal noise is a part of that. Any good sampled piano VSTi that you buy includes lovingly-tracked pedal noise.
|
|
#
?
Mar 7, 2012 20:26
|
|
|
Hogscraper posted:The Icon Neuron 6 is pretty rad but have fun dealing with them on the phone to get ahold of one. I ended up getting mine from a distributer in Canada. Mine lasted about a week before it stopped talking to the outside world anymore. loving thing  Shame too, solid as a rock, which is why I wanted it, since I keep accidently destroying keyboards drunk on stage. Pro-tip for behringer controller keyboard: If a part dies , open it up and pull it out. The less behringer parts in your behringer, the more reliable it is. The most reliable behringer would be an empty box. I literally killed the pitch dial with my crotch when some drunken 6.?foot skinhead dude im the crowd decided to pull me over my rig into the audience. loving SKA audiences! duck monster fucked around with this message at 20:36 on Mar 7, 2012 |
|
#
?
Mar 7, 2012 20:33
|
|
|
@Cmdr. Shepard - The only thing you can really do is oil the mechanics of the pedal before you track it. If it's in a full mix it's something you are hardly going to notice and the frequency range of a grand is so broad almost any EQ to correct it is going to be noticeable. @duck monster - Mine has held up well to being surfed on, beer spilled directly into it, and being kicked off of it's stand countless times and been okay. There's not a single show that goes by anymore where I'm not standing on top of the thing. A big reason for purchasing it was that it didn't have a whole lot of knobs or buttons on it that I could break off because I knew I was going to be abusing it. One of the best redeeming qualities of it was that it was pretty inexpensive so if it does break on stage I'm only out a couple hundred dollars instead of four or five hundred. You should have seen the cheap rear end Yamaha I was using before. It was held together with duct tape. I gave it a fitting end at it's last show and destroyed it proper with a few other drunken audience members. I think it was in about 10 pieces by the time all was said and done. I'll have to do some digging, I know there is some photos and possibly video of it. Def one of those top 10 live show moments for me.
|
|
#
?
Mar 7, 2012 21:50
|
|
|
Hogscraper posted:@Cmdr. Shepard - The only thing you can really do is oil the mechanics of the pedal before you track it. If it's in a full mix it's something you are hardly going to notice and the frequency range of a grand is so broad almost any EQ to correct it is going to be noticeable. I had to throw on some EQ because the hissing from my lovely preamps was unbearable. I couldn't use the GAP Pre-73 because it only had one output so I had to decide between a stereo recording with on-board preamps, or a mono recording with a nice pre-amp (using the Pre-73 on one channel and on-board preamps on the other didn't occur to me until after). I think I chose wrong. Come to think of it, the thing was a disaster and my saving grace will be burying it in the mix. At least I learned something, so it wasn't a complete waste. I didn't realize that noticeable pedal action was a thing when recording piano. This isn't a classical piece or anything, it's more of a pop song if that makes a difference? I've always done my piano recording on a digital piano and I'm probably better off doing that exclusively from now on. VVV - I use addictive drums and have never discovered a way to render individual tracks. It definitely makes mixing a lot tougher as you have to "premix" the drums in the VST before you record them. Inevitably, the cymbals are always too loud, or the kick is always too soft, etc. The Shep fucked around with this message at 02:16 on Mar 8, 2012 |
|
#
?
Mar 7, 2012 21:56
|
|
|
Hopefully this is an OK place to ask - I can't find the dedicated Reaper thread anymore... I use Reaper with Toontracks EZdrummer - is there any easy way to render my drum sounds out into separate waves/tracks? It already routes the MIDI to different tracks so I can process the different virtual drums/mics with either Reaper or the internal EZdrummer mixer, but I can't seem to figure out how to render each one down to a normal wav file short of soloing/rendering each one individually.
|
|
#
?
Mar 8, 2012 02:09
|
|
|
JohnnySmitch posted:Hopefully this is an OK place to ask - I can't find the dedicated Reaper thread anymore...
|
|
#
?
Mar 8, 2012 16:01
|
|
|
Hogscraper posted:You can't do this with EZDrummer. Only DFH Superior/Superior 2. Soloing is your only option. It is possible to render the drums into single tracks (i.e, one for kick, snare top etc) in logic with EZdrummer. I didn't know you could use ezdrummer with reaper, that's pretty neat. 
|
|
#
?
Mar 8, 2012 16:05
|
|
|
Hogscraper posted:You can't do this with EZDrummer. Only DFH Superior/Superior 2. Soloing is your only option. I found this, not sure if it will help. I'm gonna have to try this with Addictive Drums. http://forum.cockos.com/showthread.php?t=88560 quote:
|
|
#
?
Mar 8, 2012 16:44
|
|
|
So I think I'm screwed, but I'm not really that tech savvy so maybe it's an easy fix. I bought a cheapish keyboard for a midi controller and cannot for the life of me get windows 7 to recognize it. Yamaha YPT-400, shows up in device manager as Yamaha PORTATONE. I've tried every driver available on Yamaha's driver page, but I get an error message saying the processor is insufficient to run the driver. I don't see how this could be possible, but hey I'll bite. It's an i3 mobile, and I'm running Windows 7 32bit. I tried a bunch of other drivers too (Korg, Avid) but nothing seems to lock on to this thing. This seems like a widespread problem on the internet but a lot of people are just crossposting the same problem I'm posting here with no real answers. Are there any generic drivers that may work with this thing and win7? I guess I have to plop down another $100 for an maudio 49 key or something but it seems like such a waste of money if I could just get this stupid thing that I just bought to work. And I guess win7 might not recognize that either? Help I'm stupid.
|
|
#
?
Mar 9, 2012 12:20
|
|
|
GrahamBLY posted:So I think I'm screwed, but I'm not really that tech savvy so maybe it's an easy fix. According to the readme for latest drivers for that thing, it requires at least a 1.4ghz processor; depending on what processor you have, some i3s are less than 1.4ghz (a few of the low-power-usage mobile chips). Are you using a notebook/netbook with one of those?
|
|
#
?
Mar 9, 2012 15:41
|
|
|
Hard to know for sure, but my guess is that the installer for the drivers is doing a check, and doesn't know about the Core i-series of processors so it doesn't validate yours as being fast enough. You could try extracting the contents of the EXE installer using something like 7-Zip, and then dig out the .inf files and manually install them.
|
|
#
?
Mar 9, 2012 16:46
|
|
|
Its a 2.4g i3, and unbeknownst to me I am running win7 64, I always just assumed it was the cheaper one. That business about exe extraction is beyond me I think. I already tried the 64 version of yamaha's drivers anyway.
|
|
#
?
Mar 9, 2012 19:41
|
|
|
Hey everybody, interesting problem... Recently, whenever I mic up my amp, I'm getting a really dry\brittle sound. The amp sounds fantastic so that tone hasn't changed and as far as I'm aware I'm using the microphones the same way. I'm using an Sm57 and a Cascade Fat Head II for support. Any ideas?
|
|
#
?
Mar 13, 2012 08:19
|
|
|
My first thought if you're using two mics on the same source is that you're flipping phase on one of them somewhere along the chain. Are you using the same side of the Fat Head as you were before? Try inverting phase on one channel, and see if it sounds drastically fuller like that.
|
|
#
?
Mar 14, 2012 02:46
|
|
|
Mradyfist posted:My first thought if you're using two mics on the same source is that you're flipping phase on one of them somewhere along the chain. Are you using the same side of the Fat Head as you were before? Try inverting phase on one channel, and see if it sounds drastically fuller like that. Haven't changed a thing. No phase options are available. The microphones are in phase. Just recently pretty much everything has been sounding brittle and shite. Is it possible to gently caress up your pre-amps?
|
|
#
?
Mar 14, 2012 22:14
|
|
|
So to be clear, both mics sound brittle when you solo them individually? Phase options in a DAW are usually processing with a DAW function called "invert" or find an EQ plug-in with a phase button.
|
|
#
?
Mar 15, 2012 00:19
|
|
|
I'm upgrading my USB interface to an RME Babyface and I've been looking for some decent studio monitors to go along with it in the sub-$1000 range. My room is about 12x16. I record classical guitar and dabble in electronic music. After researching for the last couple days I think I'd be satisfied with a pair of Yamaha HS80Ms but I'm open to suggestions. I was also looking at the Yamaha MSP7 but I'm not sure how they compare.
|
|
#
?
Mar 15, 2012 08:31
|
|
|
Welp, just decided to murder my credit card on one of those Focusrite liquid 56s. Had a play with one at the music store with my modded Rode and those pre's just sound heavenly. Hope the drivers don't suck on my mac! Should turn up in the mail over the coming week. I think my record chain should be pretty nice now. I wonder how the liquid channel stacks up against the Golden age pre. Next step: Figure out how to get this old Tascam reel-to-reel to timecode slave off wordclock.
|
|
#
?
Mar 18, 2012 02:28
|
|
|
duck monster posted:Next step: Figure out how to get this old Tascam reel-to-reel to timecode slave off wordclock. Otherwise SMPTE is basically an audio signal. If you "striped" all your sessions with the same 10 minute recording of SMPTE you could sync the machine for at least 10 minute segments. This will probably be more responsive than adapting MTC if you can deal with the hassle of eating up an output on your interface to feed timecode to the tape machine.
|
|
#
?
Mar 18, 2012 02:57
|
|
|
Just a reminder to everyone that your cables are always the weakest link when you're troubleshooting a problem. I almost put my head through the wall for the past hour until I was convinced that one of my super-expensive pres was croaking...until I checked a simple patch cable. IT'S ALMOST ALWAYS THE CABLE!
|
|
#
?
Mar 18, 2012 16:00
|
|
|
Transistor Rhythm posted:Just a reminder to everyone that your cables are always the weakest link when you're troubleshooting a problem. I almost put my head through the wall for the past hour until I was convinced that one of my super-expensive pres was croaking...until I checked a simple patch cable. IT'S ALMOST ALWAYS THE CABLE! I thought I had a bad mic or preamp when it turned out to be a lovely mic cable. I'm not ashamed to say I went on a spending binge of about $200 replacing mic and instrument cables with Monster branded cables (online not retail, I'm not that dumb). Good cables solved all my problems, I don't care that I might've been overpaying for the brand, poo poo just works now.
|
|
#
?
Mar 18, 2012 22:07
|
|
|
I've got a good cable for my mic now, it's just that it grows a little buzz when approaching the cable end of the mic, or touching that part. I forget if that's normal. (Dynamic mic that is in otherwise prime condition, no pre-amp.) Also wanna throw it out there that the SNR on the old Roland M240 line mixer is more than acceptable, picked up one for $50 with grungey faders and sensitivity knobs to replace my half-dead Tascam MM1. It satisfies though I miss per-channel EQ. Don't shy away from old dirty beasts like that when you're on a budget, because screw the Made In China With The Cheapest Possible Components modern mixers.
|
|
#
?
Mar 19, 2012 01:47
|
|
|
wixard posted:That's not happening. You can convert MTC to SMPTE, but it's not exactly cheap. I think the piece everybody used to use was the MotU MIDI Timepiece but they don't make that anymore. I was actually making GBS threads out timecode from reaper onto a tape, then using it to just drive the interface. It *sort of * worked. The MOTU timepieces are available on ebay for around $100, so that might actually be the go here
|
|
#
?
Mar 19, 2012 03:20
|
|
|
Anybody here use Studio One? I just bought it and downloading content now. I didn't know this thing existed a week ago. I have been playing with the demo this past week and it absolutely blew me the gently caress away. The melodyne integration is simply magic. Check it out here: http://studioone.presonus.com/what-is-studio-one/ Edit: here is a good review: http://www.musicradar.com/gear/all/computers-software/digital-audio-workstations-daws/studio-one-2-professional-526321/review http://dawfreak.wordpress.com/2011/11/04/presonus-studio-one-professional-2/ keyframe fucked around with this message at 08:35 on Mar 19, 2012 |
|
#
?
Mar 19, 2012 06:41
|
|
|
keyframe posted:Anybody here use Studio One? I just bought it and downloading content now. I didn't know this thing existed a week ago. I have been playing with the demo this past week and it absolutely blew me the gently caress away. The melodyne integration is simply magic.
|
|
#
?
Mar 19, 2012 08:36
|
|
|
keyframe posted:Anybody here use Studio One? I just bought it and downloading content now. I didn't know this thing existed a week ago. I have been playing with the demo this past week and it absolutely blew me the gently caress away. The melodyne integration is simply magic. Yes. It's amazing. The stock synth and samples aren't very good, but if you're using 3rd party vsts anyway, who cares. I hope it really starts taking off soon, because I feel that it has more intuitive workflow than anything else out right now (I haven't tried Pro Tools though). If you want a total package and never want to use 3rd party vsts, I wouldn't recommend it though. And yeah, the Melodyne stuff makes it even more ridiculously great.
|
|
#
?
Mar 19, 2012 18:08
|
|
|
|
| # ? May 15, 2024 15:59 |
|
|
The Mystery Date posted:Yes. It's amazing. The stock synth and samples aren't very good, but if you're using 3rd party vsts anyway, who cares. I hope it really starts taking off soon, because I feel that it has more intuitive workflow than anything else out right now (I haven't tried Pro Tools though). If you want a total package and never want to use 3rd party vsts, I wouldn't recommend it though. I would argue that there is no such thing as a total package without vst's to fill in the blanks. I guess Reason is the closest it gets where it tries to do everything but that doesn't really work. Its why I ended up purchasing studio one. I am a reason user but the lack of vst support was driving me mad and I have tried every other daw and found them pretty much all terrible as far as workflow goes (especially logic and cubase, dear god...) Just yesterday we were collaborating with a friend online to try out the integrated soundcloud connectivity thing and it was ridiculously easy and fun how you can just drag drop soundcloud clips from the browser to the mix area and it downloads and creates the track for you all ready to go. It is also ridiculously stable. I have actively tried to crash it yesterday running melodyne on 3 minute long audio samples with 64 sample buffer on the audio card and two instances of BFD2 playing in the background with a bunch of other poo poo thrown in for good measure and it kepts chugging and never crashed.
|
|
#
?
Mar 19, 2012 19:08
|
|