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wixard posted:A real venue has at least 4 or 5 separate power services. The bar, kitchen HVAC and house lights are on one service, the audio system is on its own service (maybe sharing with video), and the stage lighting is on its own service. You can throw a knife switch on the wall and turn any of those services off without effecting the others. FOH audio, lighting and video each have a run back to their corresponding power service, which are usually located near the stage so yea, several heavily shielded 200-300ft power cables is how FOH is powered. You seem to know your poo poo so let me ask you a question. I've been trying to track down a source of noise in my studio for months now. I have 2 rooms, a control and an iso room. Both are on their own circuits but are on a shared panel. The panel itself is actually in my control room but doesn't appear to be the source of the noise. I don't hear it in my monitors, it seems to really only affect single coil pickups but I'm sure that I'm picking it up in other sources in smaller amounts. The noise almost makes single coils unusable. Is there any way for me to test my electrical system for ground loops, or do you think it's a ground loop or something else all together?
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Sep 15, 2013 14:21
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Well, single coil pickups are basically antennae. If the only time you have major problems is with single coils I'd guess that it's RF interference, not bad power. Does the noise change if you put the guitar on and twist left/right or move around the room? If the noise changes at all, RF is what you are probably chasing. A ground buzz in the USA will mostly be composed of 60Hz and harmonics of 60Hz (120, 240, etc), it's directly related to the frequency of the power if you want to try to analyze it. There's a 1500 seat theater I used to work at a lot, they didn't own a PA system so they rented one from a company I worked for all the time. They used to have absolutely ridiculous problems with single-coil pickups. I can recall sitting down with tour managers at sold-out light-rock/singer-songwriter type shows and having really awkward conversations where they tried to cancel the show after soundcheck because they didn't want to deal with their artist coming on-stage and playing through the noise for a whole set. The head-scratching part was during the show the noise would still be there, but waaaay less noticeable, like a 20-30dB drop in level. But how do you convince a tour manager, who could be fired if the artist is really picky, that the buzz will disappear when the room fills with people? In that particular room, their house light system (not stage lighting) was basically from the turn of the 20th century. After literally years of touring engineers and guys like me coming in and fighting with the buzz, they finally realized if they turned their house lights off completely (the way they are for a show) the RF activity drastically decreased and most of the buzzing disappeared. That was a case of an ancient transformer basically leaking RF. You could try something similar, turning lights off or unplugging major appliances, but if you live in an urban area or near a body of water with ships traveling through, it's possible there's nothing you can do aside from shielding your pickups as much as possible (which probably won't eliminate the problem completely). ChristsDickWorship fucked around with this message at 04:14 on Sep 16, 2013 |
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Sep 16, 2013 04:10
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wixard posted:If a venue isn't setup like that, there is basically nothing you can do to avoid getting shocked by microphones or safely clean up ground buzzes, period. Power conditioners are just plug strips that maybe have a fuse, unless it weighs about 100lb and says "isolation transformer" (and costs $1200+) you aren't cleaning up bad power. If all the wall outlets go back to one power service and the bar freezers are plugged into it, poo poo will buzz. If it's the first time his guy's gotten shocked from touching his mouth to the mic, I'm guessing his band is still at the point where they're playing local dive bars - the kind that don't have good power systems. 
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Sep 16, 2013 04:13
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Anyone know how to point Ableton Live 9 to a different VST folder for 64bit VSTs? I remember seeing that you should keep your 32bit and 64bit VSTs in separate folders and in the preferences>file/folder section, it only gives you the option for one. Also looking for a way to point old Live 8 sets to plugins that 9 can't find as I had a hard drive failure and had to relocate a whole bunch of stuff that it now doesn't know where to find them. Instead of giving me the option to point to it though, it just says plugin disabled.
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Sep 16, 2013 07:03
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Is there anything like Teenage Engineering's OP-1 but less expensive? I'd love to have some portable hardware for FM songmaking (I stick with Native Instruments' FM8 on PC) that doesn't require a computer to put something together, but I can't rationalize its price. The Electribe looks neat and regularly goes on sale, but after playing around with both, I can't say I'm a fan of its interface. I liked the Monotribe but you can't really make a song with it on its own. I'd like to break into hardware and the OP-1 seems, easily, the most flexible and accessible to me, and while I can afford it, I can think of better ways to spend a month's rent. I've been using software synths for as long as they've been around and I'd like to try my hand at hardware, but I also want to detach myself from a computer.
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Sep 16, 2013 22:40
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wixard posted:Well, single coil pickups are basically antennae. If the only time you have major problems is with single coils I'd guess that it's RF interference, not bad power. Does the noise change if you put the guitar on and twist left/right or move around the room? If the noise changes at all, RF is what you are probably chasing. A ground buzz in the USA will mostly be composed of 60Hz and harmonics of 60Hz (120, 240, etc), it's directly related to the frequency of the power if you want to try to analyze it. This is all really cool/interesting. I love FOH related stories. HotCanadianChick posted:If it's the first time his guy's gotten shocked from touching his mouth to the mic, I'm guessing his band is still at the point where they're playing local dive bars - the kind that don't have good power systems. You are correct
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Sep 17, 2013 05:27
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Hey dudes! Captured this live performance video for my new band. I had nothing to do with the video but I did handle the audio from start to finish. I'm pretty stoked with how everything turned out considering the live nature of the tracking and the big echoey room we shot the video in. https://www.youtube.com/watch?v=_U2SfT_8S68 Nothing was DI except my own key/guitar rig and I let those live as they were performed live on a single track. The only real bit of trickery was that I added in a sampled snare to reinforce the snare that was tracked. 8 tracks in. 9 tracks mixed. If anyone has any questions about it please feel free to ask. While I've done some live sound before it's not really my forte and I approached this as I would a studio recording minus trying to separate everything. There is bleed on literally EVERYTHING including my DI track which was picked up through my SG pickup. Bleed is cool.
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Sep 18, 2013 02:51
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Hogscraper posted:Hey dudes! Captured this live performance video for my new band. I had nothing to do with the video but I did handle the audio from start to finish. I'm pretty stoked with how everything turned out considering the live nature of the tracking and the big echoey room we shot the video in. First of all props to whoever handled the video, it's professional. And props to you this sounds great. How did you have everything set up for your singer? Did he have a monitor?
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Sep 18, 2013 06:22
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Ericadia posted:First of all props to whoever handled the video, it's professional. And props to you this sounds great. How did you have everything set up for your singer? Did he have a monitor? The chain for vocals went Mic > Focusrite ISA 428 > Apogee Symphony I/O. I can't remember if we hit it with a compressor on the way in or not. If I did I just tapped it a little bit with a DBX 160A because that's all I had available to me. The gear mostly belong to my friend Loren. In Logic I added a bit more compression and some verb and send it back out on it's own send to a powered monitor that you'll see in some shots on the floor to the right of Jeremy (singer/witchyhat). The mic choice and monitoring situation proved to be a little problematic at first. I had originally put an SM7 up on vocals which sounded really [i]really good on his voice but those mics need an incredible amount of gain and I couldn't get the monitor loud enough for Jeremy to hear himself without feedback. We could have done overdubs but I didn't want to kill the live vibe and I was totally into the idea of making every live track work. So I swapped it out for an SM57. Mixing was also a little problematic too. Like I said before there was a ton of bleed to deal with especially on the vocal mic. It acted almost like a room mic. This limited how wet I could make the vocal effects. Jeremy sounds really good with a slap echo but if I put too much on there the hat bleed hits it and the whole band sounds out of time. Not good. The first mix I did was a lot different because I just had the audio up. Once I put the main video shot up and synced the audio and had a visual going it affected my mix choices a ton. Less reverb and such. It seemed out of place to have things drenched in verb but visually have the singer up in your face. I have to run out but I'll post some samples of that vocal track later so you can hear what I was dealing with. It's interesting for sure.
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Sep 18, 2013 16:31
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Hogscraper posted:Mixing was also a little problematic too. Like I said before there was a ton of bleed to deal with especially on the vocal mic. It acted almost like a room mic. This limited how wet I could make the vocal effects. Jeremy sounds really good with a slap echo but if I put too much on there the hat bleed hits it and the whole band sounds out of time. Not good. The first mix I did was a lot different because I just had the audio up. Once I put the main video shot up and synced the audio and had a visual going it affected my mix choices a ton. Less reverb and such. It seemed out of place to have things drenched in verb but visually have the singer up in your face. Also, if you want to mix with the video in front of you, do it by gently riding things up when they're featured on camera or nudging FX to go along with focus tricks and stuff but I would try to put the proximity of vocal FX thing out of your head. You actually tracked that poo poo live, most bands with a video anything like that are just putting the album track behind it with 16 more layered vocals and 3 FX engines and the general public would still probably describe it as a live video. You'll probably get a bunch of comments on how good the room sounds if you drench the singer (and thus the band) in verb no matter how ridiculous you or I think it sounds. For some reason it bothers me that the camera shots aren't shaded the same way but that might have been intentional. The editing and the composition are spot-on, but it looks like it could have been 3 or 4 takes at different times of day with the way the colors are between different camera shots. That's probably just me being an anal-retentive bastard who pretends to know things about video because I mostly do corporate poo poo now and they have an unending budget for video (like 10x the audio budget as a general rule, video should be motherfucking perfect all the time  ).edit: https://www.youtube.com/watch?v=jCXqr2eRHOw As an example, here's a video that a crew shot at a show I mixed. That's just my boardfeed mono'd out (which totally dicked the percussion player, not sure how I phased him out) and smacked into a limiter that I never even listened to then sent to a camera. I find the drum sound pretty absurd because of the slapback on the kick and snare (and I'm not 100% sure it's just my FX, might be the main PA reflecting back off the building I'm mixing from), but the band and film crew loved it. Not saying that will work in your situation but gentle slapback can add depth like a verb even when the whole band bleeds in. ChristsDickWorship fucked around with this message at 17:27 on Sep 18, 2013 |
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Sep 18, 2013 17:15
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I did some preproduction and have a midi track in Garageband that I would like to export for a song my band is working on at a pro studio. However, it seems to be that getting midi tracks out of Garageband is a pain in the rear end unless you have Logic (which I don't). Do any goons have logic and wouldn't mind exporting the midi file out of the project if I emailed it to them? It would be greatly appreciated.
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Sep 18, 2013 18:02
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wixard posted:The editing and the composition are spot-on, but it looks like it could have been 3 or 4 takes at different times of day with the way the colors are between different camera shots. That's probably just me being an anal-retentive bastard who pretends to know things about video because I mostly do corporate poo poo now and they have an unending budget for video (like 10x the audio budget as a general rule, video should be motherfucking perfect all the time I wish we were able to get the brightness up on the main dolly shot in post but nothing we tried looked right. It just ended up looking washed out. The camera just wasn't set up right to match the other cameras which happens when you have no real video monitoring system on site and you're relying on tiny 2" LCDs to tell you what's going on. We went from concept to shoot to release in less than two weeks in order to use this for promo for a festival we're playing at the end of the month. So I'm still pretty happy with everything we have here even if it's not perfect. I have to check my own personal anal retentive qualities at the door. In the mixing chain I def pushed it pretty hard into Decapitator followed by two compressors, some EQ, and maybe a limiter. There was a very slight doubling effect going on too as the first thing in the chain. I can't remember without puling the mix up. Sends to slap and plate verb. I definitely did do some automating here and there to bring up certain elements to match what was being focused on in the main shot. Here's the vocal in all of it's raw glory http://neonmastering.com/honeyspiders/01%20-%20Vocals.flac gahpg posted:I did some preproduction and have a midi track in Garageband that I would like to export for a song my band is working on at a pro studio. However, it seems to be that getting midi tracks out of Garageband is a pain in the rear end unless you have Logic (which I don't). Do any goons have logic and wouldn't mind exporting the midi file out of the project if I emailed it to them? It would be greatly appreciated.
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Sep 18, 2013 18:23
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Here's the track as it exists in the mix. I checked and def didn't use the L1 like I thought I might have. Mixing chain goes Doubler > Decap > Comp > Comp > EQ. Send to plate and EchoBoy doing the slap echo thing. http://neonmastering.com/honeyspiders/01%20-%20Vocals.mix.flac The idea behind the serial comps is to have the first one set with a fast attack and release to catch some peaks with the second one set a bit slower doing more of the volume leveling. PS: I'm super happy with the drum sound I got. Three mics plus the sampled snare I added in later. Rode NT2 capturing the kit, RE20 on kick, 57 on snare. That NT2 is crisp and I took a ton of high end out of it come mix time. I actually auditioned the kick we recorded up against some really great samples and my kick won every time. Score! PPS: My friend doing the video editing asked me if I wanted to change some things last minute because he thought the audio sounded "too good for a live video". I guess that's a win? Thanks for the back-handed compliment, dude. haha Hogscraper fucked around with this message at 18:58 on Sep 18, 2013 |
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Sep 18, 2013 18:40
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E-mail sent. Ignore the first one as I saw some changes I wanted to make after I sent the first one. Thanks!
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Sep 19, 2013 03:39
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So... where is the line of home/DIY recording versus professional?  As a huge proponent of programed and sampled drums I think I've finally found a mic setup that doesn't feel weak to me. However, I'm amassing decent equipment for tracking again and I want to ask opinions of the hive mind before I get all hyped on tracking live drums for this upcoming EP I'm doing. I must be certain I'm not high on gear. http://neonmastering.com/honeyspiders/Drum%20Test.09212013.mp3 Your thoughts?
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Sep 22, 2013 16:49
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As a huge computer hardware nerd since way back, I never really grasped how wide the gap in sound quality between AC'97 and a dedicated sound card could be. Because I can't use ASIO drivers with AC'97 without output conflicts, I went out and got a Sound Blaster Z tonight for $119. The difference is night and loving day. Plus my front panel audio connector had JUST enough length to reach the front panel port on the card which was also nice. Now I'm actually able to use MIDI controllers without a ~100ms delay between pressing the key and hearing the note. For the record, I use actual recording hardware almost everywhere other than my home computer.
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Sep 23, 2013 20:23
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FFStudios posted:As a huge computer hardware nerd since way back, I never really grasped how wide the gap in sound quality between AC'97 and a dedicated sound card could be. Because I can't use ASIO drivers with AC'97 without output conflicts, I went out and got a Sound Blaster Z tonight for $119. The difference is night and loving day. Plus my front panel audio connector had JUST enough length to reach the front panel port on the card which was also nice. Now I'm actually able to use MIDI controllers without a ~100ms delay between pressing the key and hearing the note.  For $100+, you could have gotten a much, much better, recording oriented audio interface that would be much better suited to recording/audio work (with useful things like multiple MIDI ports, mic preamps, XLR inputs, etc). Anything Sound Blaster is terrible for doing music (cheap DACs, unstable timing, nonexistent/iffy ASIO support). There's a whole thread for affordable musician-oriented audio interfaces right here: http://forums.somethingawful.com/showthread.php?threadid=3278830
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Sep 26, 2013 21:16
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Man, I'm just getting this clipping/distortion. I'm pulling all the faders back and i'm muting each track one by one trying to find the source. Realized the interface wasn't plugged in properly. 
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Sep 27, 2013 13:06
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LordPants posted:Man, I'm just getting this clipping/distortion. I'm pulling all the faders back and i'm muting each track one by one trying to find the source. Man, I had a similar issue a few months back. I bought an M-Audio Profire 2626 on CL and when I went to use it I went down the line trying to record through each channel and they were all really muffled, quiet, and crappy sounding. I tried changing cables/messing with settings, etc. and was really disheartened thinking that I had bought a dud with no real recourse. As a last-ditch effort I changed cables a THIRD time and it turns out I just had MULTIPLE bad cables and the pres worked just fine. I went and tested all my cables and rooted out the offenders, but holy poo poo what a relief/feeling of stupidity. Buy a E: I even have a multimeter and use it on all kinds of other poo poo
himajinga fucked around with this message at 18:52 on Sep 27, 2013 |
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Sep 27, 2013 17:35
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himajinga posted:Buy a cable tester, kids. I have a fancy expensive cable tester and I never use it for XLR because my multimeter is usually more handy and the pins are easy to get to in XLR and TRS cables. I only have that monstrosity with me if I think I'll need to test cat5 or NL2/4 speaker cable, and I actually have a different tester that usually finds speaker cable problems while it's finding speaker driver problems so I almost never use a "cable tester" period.
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Sep 27, 2013 18:43
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Hey guys, I hope this isn't the wrong place but I'm trying to figure out how to edit some music for a play. I've got Audacity and that's p.much it, working with WAVs that came from a CD rip. I need to make the tracks sound like they're coming out of a tinny, lovely 20 year old boombox that's seen its share of damage. Every search chain I've tried pulls up advice on making crappy speakers sound good, but I need to make good monitors sound bad. My basic idea right now is: gently caress with the pitch a little and add noise. Advice? vvv: thanks, that worked great! Grand Prize Winner fucked around with this message at 05:39 on Sep 30, 2013 |
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Sep 29, 2013 02:39
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Distort the audio slightly, then create low and high shelf EQ cuts so that only the mids come through. That'll get you 90% of the way there. Possibly add another hint of distortion, and some short room reverb and it should sound mighty trashy.
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Sep 29, 2013 03:50
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HotCanadianChick posted:
I returned it and bought a E-MU 0404. The Sound Blaster was a nice proof of concept to pound the fact that you should stop using onboard audio dumbass into my head, from there it was just about finding a suitable recording interface.
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Sep 29, 2013 20:12
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wixard posted:That was a case of an ancient transformer basically leaking RF. You could try something similar, turning lights off or unplugging major appliances, but if you live in an urban area or near a body of water with ships traveling through, it's possible there's nothing you can do aside from shielding your pickups as much as possible (which probably won't eliminate the problem completely). Yeah, sheilding your guitars control cavity/pickguard/jack surround will help w/ RF interference. I like to use the shielding PAINT not the foil (it's a real pain to get flat and you have to solder all the places you overlap). Just be sure to ground each section with usually a screw into the paint coated in the paint. http://www.stewmac.com/shopby/item/0029?utm_source=google&utm_medium=shopping&utm_campaign=2013-09-gp&gclid=CJb0p9Wz87kCFSpk7AodzUQACA There is probably cheaper stuff available but that's what I get. Standard 60 cycle hum is always there with proper single coils but noise gates help (though they can feel strange). Suhr guitars made a hum cancelling backplate that works pretty well: http://www.youtube.com/watch?v=qiYNaC7LQtg Good luck to you Hollis it's a pain.
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Sep 30, 2013 16:14
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tonesville posted:Yeah, sheilding your guitars control cavity/pickguard/jack surround will help w/ RF interference. I like to use the shielding PAINT not the foil (it's a real pain to get flat and you have to solder all the places you overlap). Just be sure to ground each section with usually a screw into the paint coated in the paint. I read everywhere that lots of people solve their noise issue by tracking down ground loops, but it seems like you guys don't they have anything to do with RF interference. Am I right?
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Oct 1, 2013 01:10
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If you turn your amp on and it doesn't buzz with nothing plugged into it, and doesn't buzz with a cable dangling out of it (and with nothing touching the dangling end of the cable), you can be fairly certain that the source of your noise isn't bad power. If you then plug a guitar in and get a buzz, the problem is somewhere in the guitar end of the equation. It could also buzz when you plug an XLR into the direct output on the amp to record, and if that happens it will probably clean up with an audio ground lift (pin 1 lift) rather than trying to mess with your power. There is way too much misinformation about power/ground and virtually everyone, even people who should definitely know better, call all buzzes power problems. All buzzes sound the same to most people, and to a certain extent they are. Any buzz in the USA will probably have a large 60Hz+120Hz+240Hz+etc component because of the frequency of the power, but a true ground buzz will ONLY be composed of those harmonics (in Europe it would be 50Hz/100Hz/200Hz/etc because their power is 50Hz). At the end of the day both buzzes are caused by voltage on the ground that shouldn't be there, but one is there by way of an unshielded antennae being part of the circuit and the other is inherent on the ground leg of the circuit because of an electrical problem. If it sounds like something is sizzling on top of the buzz, or you can create a phasing effect by moving around and waving the guitar, the source of the stray voltage causing your noise is RF, not electricity. The only difference between single-coil and dual-coil pickups is dual-coils are wound alternately so RF interference cancels itself out before it gets to the amp, like the difference between balanced and unbalanced cables. There's no difference between the way those 2 pick-ups are grounded, only in how they reject RF. edit: For most concerts I do, we bring our own expensive power distribution (200A 208V 3-phase) and tie it into a knife-switch in the venue with huge bare copper ends. There is virtually no chance of us having a grounded power issue unless something is broken (usually the power distro is humming audibly, smoking, and/or arcing when this occurs, and if there was a problem with the entire power service some other show probably would have died or gone up in flames). We still deal with buzzes all the time because there are tons of ways for well-maintained gear tied together by audio cable to buzz on an isolated power service with a solid ground connection. e2: maybe more clarified ChristsDickWorship fucked around with this message at 01:53 on Oct 1, 2013 |
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Oct 1, 2013 01:34
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Double post, but rereading my last one I might have been a little  Bottom line: audible ground loops can be caused by bad power or by tieing together devices with different ground potential via audio cables. It sounds like you aren't plugging any audio cable directly into your amp, so the only ground loop you have to worry about would be preexisting on your power. Your amp doesn't buzz all the time, only when certain guitars are plugged in, so it isn't the power itself. That's the logic I'm thinking through to tell you it's an RF problem. That you said it mostly happens with single-coils is icing on the cake. If any of those statements aren't true, then I might be typing a bunch of poo poo for no reason. ChristsDickWorship fucked around with this message at 14:41 on Oct 1, 2013 |
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Oct 1, 2013 14:28
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wixard posted:Double post, but rereading my last one I might have been a little Nope your post made perfect sense to me, I just really didn't want the problem to be stray RF interference. Ground Loops can be fixed but I'll never get rid of electromagnetic waves in the air. I could shield my guitars but I'll never be able to shield all my clients instruments too. Thanks though.
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Oct 1, 2013 15:11
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What are you talking about, your clients should have shielded guitars anyway! They don't want their signature tone to cause a buzz that makes the audience want to rip its ears out during what could be their breakout show in the big city, with tons of RF activity everywhere! As an audio engineer you understand electricity way better than some guitar tech, you would be happy to shield their guitar professionally. It will take you half the night, but it can be done for the low price of $100 so that they can come back tomorrow and record!  (but it better not buzz when you're done)
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Oct 1, 2013 15:23
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Great days work guys, have a great night, and I'll have all your instruments properly shielded by the time you come in tomorrow. Thanks for the $100 x 4! *flicks "RF Buzz" switch off on console*
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Oct 1, 2013 22:18
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I want to make some songs for movies and video games. I want to do it all on one machine, one of those keyboard workstation type deals. I would like a decent set of really good quality instrument sounds (quality over quantity) and the ability to record and edit multiple tracks and export them somehow. Also realistic weighted keys are a must. I am aware that every brand releases a new one of these every year so I need a recommendation on a really good solid older one I can find cheaper and will still stand the test of time. Improvements are nice but my needs are basic. E: would this be better in the piano thread?
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Oct 4, 2013 02:33
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philkop posted:I want to make some songs for movies and video games. EDIT: gently caress me, I didn't realize that what you want actually exists. Whoa. I guess I'm too much a child of the DAW/console. I hadn't thought of workstations as completely comprehensive including integrated multi track recording etc. strangemusic fucked around with this message at 04:45 on Oct 4, 2013 |
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Oct 4, 2013 04:31
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strangemusic posted:EDIT: gently caress me, I didn't realize that what you want actually exists. Whoa. I guess I'm too much a child of the DAW/console. I hadn't thought of workstations as completely comprehensive including integrated multi track recording etc. Yeah I was loving with the kronos at sam ash today. It was pretty awesome.
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Oct 4, 2013 05:49
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I expected this to be an easy thing to figure out, but it's totally NOT so I hope someone can help. Snagged an Mbox2 USB pretty cheap, it's got all the discs and paperwork in the box but the previous owner said he DID register it to himself, PLUS it's for MacOS somethingthefuck before OS X. I can't for the life of me determine on the website what my options are for getting an inexpensive version of ProTools might be or how I'd even determine it. I'd just like to see if I even WANT to move up the ProTools line (using Studio from Presonus now). Help?
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Oct 4, 2013 13:47
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The version of Pro Tools that's pre-OSX is v5 so I doubt it's that. The version of Pro Tools that probably came with that MBox2 is LE v7 or maybe 8. If you can make those run they'll be fine but you probably won't be able to download them from Avid without an account that has the hardware attached to it. Those versions were probably designed to run on Leopard or Tiger though, OSX tends to break Pro Tools pretty thoroughly with each major update. They are at 11 now. They probably don't support 7, 8 or 9 anymore and those were probably the only versions of Pro Tools you could have used/upgraded to for cheap.
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Oct 4, 2013 14:32
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Doh yup, looks like v.6.8.1, PPC only, maybe? If I DO need a new version, is it worth upgrading or should I just use Studio Live or GarageBand? Edit: I guess I'm asking if, since I've got a DAW (Studio Live) that I like reasonably well, is there anything I'm missing out on by NOT using ProTools with the Mbox2? iostream.h fucked around with this message at 17:15 on Oct 4, 2013 |
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Oct 4, 2013 16:33
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No features or anything as far as I know. In the older versions of Pro Tools you had to have a Digidesign/Avid interface as a dongle to run the software, but as long as you have the official drivers the interface will work fine with any other DAW. I had an MBox when I bought one of the early Intel MacBook Pros, I want to say it was version 7.1 or 7.3 that finally gave it Intel support. I think you could get the installer for whatever the last stable version of 7 was with that MBox 2, but as I said 7 was probably Tiger or Leopard and won't run in Lion anyway. What you may run up against eventually is Avid not updating the drivers anymore. If you can find the driver on Avid's site (don't think you need an account for drivers, but sometimes they overhaul things) farther down the page will probably be all the versions of OSes that they support with that release. I couldn't use that MBox 1 to authenticate Pro Tools anymore even if I could run it because there are no drivers that work past Tiger or XP. ChristsDickWorship fucked around with this message at 17:54 on Oct 4, 2013 |
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Oct 4, 2013 17:52
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What small (25 keys) midi controller would you guys recommend? I have the additional restriction of it being under $150 because Customs will tax me a LOT if I go over that. I was looking at this one earlier but I'm open to suggestions. I'm currently using Reaper but if Propellerhead's online shop ever decides I'm worthy of not erroring out I might buy Reason in the future.
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Oct 4, 2013 22:36
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I've been finding the editing capabilities of Garageband to be really limiting and I was thinking of getting this interface and Reason 7. http://www.musiciansfriend.com/pro-audio/focusrite-scarlett-2i2-usb-audio-interface I don't need that many inputs since I only play keyboards and bass. I've been making drumbeats with iMaschine and would otherwise like to be able to loop the beats I make and lay tracks on top of it. The musicians I've been playing with aren't really "jam" types so they'd want time to think of parts to lay on top of what I end up making anyways. Does this seem like a reasonable way to go as a starter package? I'm using a 2008 white Macbook, but I'm probably going to get a new Macbook soon. Eric Cantonese fucked around with this message at 23:49 on Oct 6, 2013 |
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Oct 6, 2013 23:43
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CisSTAR 19 posted:I've been finding the editing capabilities of Garageband to be really limiting and I was thinking of getting this interface and Reason 7. For what it's worth, Cubase has a headlock on just about any other DAW when it comes to editing in my opinion.
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Oct 7, 2013 00:36
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