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olaf2022 posted:My friend and I want to get into recording on his PC. We've recorded albums before, but it was at someone else's (analog) studio, so we really don't know a whole lot of what to buy to do it ourselves on a PC. We have all the music equipment and mics we'd need but we're unsure about the recording hardware. Almost any DAW will let you run more than 8 tracks. If you need 8 channels simultaneously (when recording) and just want something that sounds good, a Presonus Firepod would work just fine. It's cheap, reliable, easy to use and it sounds completely acceptable. If you want something that you can expand and build on later, or need added features like ADAT, go with the more expensive stuff. Otherwise, I think $2200 is overkill, especially for your first interface. Unless you're doing something under the right acoustic conditions and record everything professionally your bottleneck will not be your interface and those better preamps and converters really won't matter much. What I think a lot of people fail to realize (and I'm not accusing you of this) is how much of the "quality" they hear depends on proper miking and room conditions. All the other high-dollar stuff comes later. You probably already know this, but The Digi002 stuff will come with Pro Tools, so you wouldn't have to buy the software, but you will only have 4 mic channels available without buying additional preamps. I can seriously see this being a good deal, though, if you want a control surface so that you don't have to do everything with a mouse. I think it's a good idea to start with something cheaper and get comfortable with your software -- then upgrade if you feel like you need to. Don't buy any PCI sound cards like this though -- those are basically all crap -- just get a decent interface priced at $500-700 and it will probably serve you well for a long time. RivensBitch posted:At least I'm an outright, unashamed rear end who is capable of spouting usefull and relevant poo poo when prompted correctly. Posting baseless "I guess, personally" opinions in a technical thread simply paints you as a useless, incontinent rear end that occasionally likes to dribble runny, watery poo poo on what otherwise could be solid, plump and useful conversation. 
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Feb 21, 2007 05:17
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Finx posted:Why don't we just give you your own drat forum where you can go and have some solid, plump and useful conversation with yourself? 
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Feb 21, 2007 05:55
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Swivel Master posted:The first response to your post is, in my opinion, poor advice. The version coming out of a speaker is going to sound dramatically different from what you'd get recording at a distance. This is probably the first time I've really disagreed with RivensBitch, but I don't think he's got film sound training or experience.
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Feb 21, 2007 08:19
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nimper posted:I think it's my fault.. I did put his name in the thread title In defense of the bitch I have no idea what the whole Mac/Pro Tools thing is about because I've used Pro Tools in Win XP and it has never given me problems. It just seemed like a totally absurd thing to argue about.
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Feb 21, 2007 14:54
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Allen Fiverson posted:Yes, I ended up doing this and it worked well. I have a good set of sound effect wavs and a couple city/crowd/forest etc ones did the trick. Thanks for your advice. Holy poo poo that was fast! You're welcome 
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Feb 21, 2007 18:30
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Swivel Master posted:The first response to your post is, in my opinion, poor advice. The version coming out of a speaker is going to sound dramatically different from what you'd get recording at a distance. This is probably the first time I've really disagreed with RivensBitch, but I don't think he's got film sound training or experience. While I don't have specific experience working on films on location, I have used this technique with voice and ambient spaces and had great results. My question to you would be, have you ever actually done this yourself, and if so what kind of speaker did you use? Studio monitors work great, you just have to adjust the volume to an actual speaking level. edit: as for my being very vocal about audio etc, I have strong opinions that are based around solid experience and application in the studio and the live sound world. I don't shy away from calling people out when they are spreading mis-information as fact (see- SM58 and SM57 being completely indentical internally when they aren't, see not trusting Windows XP with no experience in that regard). I understand that people get excited about audio and working with gear and getting into techncial things, especially when they're new, and I'll even admit that having dealt with the unwashed masses on this issue for years now I have become bitter and jaded. As a result when I see someone talking out of their rear end in a technical forum where someone might take them at their word, I respond by calling them out as the blowhards they are. I don't think that negates my contributions to the ML which in addition to dozens of threads on specific recording and live techniques, and countless technical questions answered *acurately* from real world experience, I've also saved goons tens of thousands of dollars with discounts on gear/equipment. In any case there are other people here who are just as knowledgable as myself and I applaud their ability to show restraint when someone comes out of the woodwork and through ignorance or incompetence compeletely misleads an audio-n00b in the wrong direction, I simply don't have the patience and honestly don't think such behavior should be tolerated. RivensBitch fucked around with this message at 19:07 on Feb 21, 2007 |
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Feb 21, 2007 18:43
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RivensBitch posted:While I don't have specific experience working on films on location, I have used this technique with voice and ambient spaces and had great results. In other news I just found the best free limiter ever. http://www.masseyplugins.com/index_v2.html?page=l2007 All his stuff has free demo versions that don't expire. Rather than be annoying with beeps and reminders, he just removes some functionality that any studio would want/need. For instance, the plug-ins don't remember their settings once you close the session and reopen it (or even move the plug-in to another insert in Pro Tools), there is no bypass swtich, some have sample rate limitations, etc. (I'm probably last to the Massey party... those plugins aren't really obscure, but I'd never heard them until today).
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Feb 22, 2007 05:40
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RivensBitch posted:While I don't have specific experience working on films on location, I have used this technique with voice and ambient spaces and had great results. My question to you would be, have you ever actually done this yourself, and if so what kind of speaker did you use? Studio monitors work great, you just have to adjust the volume to an actual speaking level. It's not that it doesn't work, it's that it's impractical and inflexible. The method I outlined is pretty much the standard, and while yours has the possibility of working instantly, it would also produce results that aren't particularly moldable - a full range recording can have stuff subtracted to make it sound like it's outside/far away, but if an outside recording doesn't have everything you need, boosting stuff in post is going to mess with the ambience and mess upt he whole thing. I agree about fighting bad advice. I think it can be done a little more tactfully than you do it, but I think you know that I've come out a few times and said "You're completely wrong what the gently caress are you talking about?" (IE 'you can only record 8 tracks to an external firewire drive' and 'micing away from the center of a speaker gets you more highs' and a few other weird ones)edit: wixard posted:I don't think it ever hurt the thousands of albums that brought PAs into the studio to 'reamp' drum kits or whatever else. Totally different application. That's an effect. A bit different than taking a PA system to a forest and reamping it there because you need the drums to sound like they were recorded in a forest because they're in the forest on the video 
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Feb 22, 2007 22:28
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I've decided its time for me to lose my M-Audio Delta 1010 and move up in the world as far as convertors go. Also, its been bugging me that I don't have an instrument level input so I have to faff around with discrete pres and a DI when I want to record my Guitar. I neither have a good preamp nor a good DI I've played around with a Rosetta 200 for about 20 minutes and I loved it to peices but sadly its more than 3 times over my budget. I was looking for something in the 828MKII kind of price range but there are a lot of horror stories about that interface. I never experienced any problems with the ones I used but then they weren't running on my computer and on my firewire ports. So I am now considering alternatives and shortlisted: MOTU Ultralite, MOTU Traveller, RME Multiface, RME Fireface 400, Focusrite Saffire Pro 26 I/O. Of these, I have not personally used any of them. I have used the Focusrite Saffire (not the 26 I/O) and it was basically a good card but there are things about it which bug the living poo poo out of me. For instance, The outputs are freaking hot and theres no way to switch down to -10dBV so I simply cannot monitor on this thing quietly if I need to. Saffire Control (the software mixer) has this horrendously annoying bug which makes all the gain faders default back to their maximum values when you save a mixer state. I cannot deal with this on a day to day basis  Finally, the card has mic inputs but no instrument level input where I can plug my guitar in without a DI and some sort of spliced TS to XLR cable. So I keep wondering if the 26 I/O has the same problems.Do the Ultralite and Traveller have a history of problems that are similar to the 828MKII? I ask because alot of 828 tech is in both of these boxes. If the Traveller has significantly better convertors and pres than the Ultralite then I would be up for spending the extra 150 quid or so. Then theres RME which has always been lurking around at the back of the music production bus. I have no idea whether the Multiface is just a Hammerfall DSP card in a breakout box, whether its a modular system like Hammerfall and what it sounds like in practice. The Fireface 400 looks good for the convertors and pres but I think its only a 2 channel convertor - a bit like a half price Rosetta 200. And as much as I liekd the 200, I really wanted 2 more ins. I only ever need 2 outputs so the 8 I've got on my Delta1010 are a total waste. I don't use a load of outboard but I wouldn't mind having 4+ inputs in case I need to juggle a few synths. I don't really need any more than 8. Dont care about ADAT or AES/EBU support and will rarely use S/PDIF although some of these features come into the bargain at this price point anyway. What would you do in a similar situation and do you have any stories to tell about the cards I listed? Do you have an alternative? Your opinions would be greatly appreciated. WanderingKid fucked around with this message at 14:23 on Feb 23, 2007 |
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Feb 23, 2007 14:16
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The 828mkII is a great box, you just need to have the right firewire card. I'm not sure that's a good enough reason to avoid it - you can get a card that will work perfectly with it for $35 at Comp USA, and once you do it's a really nice interface. I can vouch for how important the right card is, though; before I bought one of the recommended cards, my 828mkII was almost unusable. Since I bought the card, though, it's been the best interface I've ever owned hands down. Edit: I guess you probably wouldn't be able to use it with a laptop, though, if that's a problem for you. mofolotopo fucked around with this message at 16:42 on Feb 23, 2007 |
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Feb 23, 2007 16:36
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My experience with MOTU interfaces has been with a 2408mk3, and it was a mixed bag. It claimed to have no trouble syncing up via ADAT optical with two external octopres (Focusrite and Mackie), but there were a lot of digital jitter-related pops and whatnot. However, since it doesn't have any onboard preamps I cannot speak to the quality of MOTU's pre's. The mix software was okay but not great. Then, we ditched that and got a Fireface 800, which, with the exception of some driver bugs that don't affect recording, has been great. As a converter it's great - everything sounds instantly better from the MOTU, and I can't even really describe how it does... it's just better. One odd thing about the RME stuff is that they eliminate a lot of knobs and buttons you'd expect from the front panel and just load it into software. In the case of the Fireface 400, that includes gain control for the mic preamps. Weird. Also, the fireface 400 is a four channel converter - two mic preamps and two quarter inch ins, which apparently can both be switched to instrument level. I'd really suggest trying out the fireface. Also, the bugs on the fireface 800 are - the driver software has occasionally asked us to update the fireface's flash driver (whatever you call it), even though what we had was up to date. If it's asking to update, it won't work until you do. Keeping a copy of the latest update on hand always solved that one. Also, while running it via firewire 800, plugging in new devices on firewire 400 ports seemed to reset the driver - we'd lose audio for a few seconds and the driver software would reset. Of course, since we wouldn't (shouldn't) be plugging in new devices while recording, that doesn't really matter.
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Feb 23, 2007 18:09
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mofolotopo posted:Edit: I guess you probably wouldn't be able to use it with a laptop, though, if that's a problem for you. I should have mentioned that I am using a Small Form Factor PC so I have 1 free PCI slot and thats it. If at all possible I would rather keep it as a spare but if the Ultralite/Traveller works out better, it seems like I get to save the PCI slot anyway. And yeah Swivel Master, I've been anxious to try out the RME stuff. I think the Fireface 400 has the same convertors as the Fireface 800 which would be brilliant as I've heard loads of good things about their convertors. 4 analogue inputs just sweetens the deal. I'm sort of used to controlling gain through software. The Delta 1010 I already have has no physical controls on the front of the rack. I always thought that it would make sense to at least have a monitor gain control on the front of the rack itself since in an emergency (feedback loop!) you can quickly turn down the level. As long as it doesn't have any bugs like SaffireControl I guess its ok. But man its shocking having the monitor level shoot up by 100dB when you save a mixer state. Some day I will get a Rosetta 800 I think but not any time soon. Man is that thing expensive :\ Guess I should be grateful its not Prism Sound ADA8XR expensive... WanderingKid fucked around with this message at 18:23 on Feb 23, 2007 |
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Feb 23, 2007 18:15
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Funny enough I was using my Rosetta 800 last night with my MX002 while tracking guitar, the thing sounds like a wet dream I've had nothing but success with the 828mkII, including recording 18 tracks live at the shoreline ampitheater on a P3 800mhz laptop w/ 512mb of ram and a firewire hard drive. The new 8-preamp motu box looks pretty sexy as well. I would chock up any trouble using MOTU boxes to incorrect drivers, poor chipests on firewire interfaces, or even poorly set up windows boxes. That said I have a lot of faith in the RME gear, I've heard a lot of glowing things from people whose opinions I trust but have not actually used the boxes myself.
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Feb 23, 2007 19:52
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Feb 26, 2007 01:57
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RivensBitch posted:I've had nothing but success with the 828mkII I'm looking for something bigger than my E-mu 1212m and 01v via ADAT-combo and a buddy of mine recommended me the 828mkII, Firewire, combined with an ADA8000 (or should I get this - sorry, I'm not the fortunate $2K converter guy); To what extent can these be stacked - e.g. if I ever wanted another 828 (just in case), can they play together nicely?
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Feb 26, 2007 21:03
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the motu drivers stack very nicely, your software will report all inputs as a single entity which is nice. I've never heard of the converter you linked, if I were you I'd go with a DigiMAX or whatever the current flavor of 8preamp -> lightpipe is. Avoid behringer please. As for the "fortunate $2k converter guy" comment, I paid for the thing out of my own pocket, and I'm not a millionaire, so how does that make me fortunate? Anyone can budget for good gear, it just means setting your priorities to allow that kind of expense and saving up your money instead of spending it sooner on something cheaper. I stopped wasting my money with the "upgrade path" a long time ago, if I need something I either get a pro piece or I wait until I can afford one.
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Feb 26, 2007 22:49
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Can anyone tell me how I would be able to make some big, thumpy, boomy bass drum hits like in hiphop & dance? I'm using protools w/ reason 2.5 adapted. Would it be entirely in getting new, additional samples? Or is there a way to set it up with what I currently have? OK i asked one of my sound engineer friends from expressions told me that in order to get me the hiphop phat bass drum sound, I should use an actual kick drum, send it through the gate of an oscillator set to a 40hz sound to replicate an 808 sound. Can I do that with reason? Can subtractor do that? mrWr0ng fucked around with this message at 05:40 on Feb 27, 2007 |
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Feb 27, 2007 01:19
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Create an audio track, put an oscillator plugin on that track (this plugin comes w/ protools). Set the oscillator to 50hz or whatever. After the oscillator put a gate plugin. Ctrl+click the output of your bass drum audio track and add an output to a bus, say bus 10. Now back in the gate plugin window on your oscillator track, engage the key input and select bus 10 as the source of your key. Set the threshold so that the gate only opens when the kick drum hits. Adjust the attack and release to shape your sound. Voila- you now have a low rear end bass drum sound that you can mix into your track, or completely replace your kick drum.
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Feb 27, 2007 09:03
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The oscillator in question would be generating a 50/60hz sine wave, which has no harmonics. You can do this process in pretty much any synth that can generate a sine wave and has at least 1 LFO that can modulate the pitch of the oscillator in an envelope. There is usually an envelope or LFO triggering in an envelope via a high speed saw wave which modulates the pitch of the oscillator negatively over time. This means that the pitch dives the longer you hold the note down. Actually, in hiphop and breaks this was commonly done by sampling an 808 bass drum (which is synthesized using similar means but with a noise generator and a resonant low pass filter stage afterwards). So I would try both ways and see what you can come up with. The 808 has a really nice saturated hum when the pitch dive levels out and its hard to replicate. analogue filter saturation is pretty hard to emulate convincingly using softsynths and I have never had much success. filter saturation is the distortion that occurs when you overload the input of a filter. Its quite important for beefing up the bass end tail of a bass drum or for any overdriven sound when you swing the filter cutoff low. Other than that, its not going to sound hiphop unless you send the result through some valves, so if you have the real thing and some kick rear end convertors then feel free to go outboard and overdrive the drum like a motherfucker. If you dont have kickass convertors or tube amps then you can achieve sort of similar results using a tube amp simulator like Voxengo Warmifier. The thing about hiphop BDs is their simplicity. I wouldn't faff around with layering kick samples to get a composite sound - you lose the purity by doing that. Keep it simple and trying mixing the sine wave with some more harmonically rich waves like a saw. Try a sine/saw mix of 95/5 respectively and see how it goes and work on the distortion/saturation. Nothing too overblown as you don't want to go the way of gabber or anything.
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Feb 27, 2007 14:15
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RivensBitch posted:the motu drivers stack very nicely, your software will report all inputs as a single entity which is nice. .quote:As for the "fortunate $2k converter guy" comment, I paid for the thing out of my own pocket, and I'm not a millionaire, so how does that make me fortunate? ). What I meant was that you'd be fortunate to have the thing because it's better and you can justify the spending on it because it makes more of a difference in your actual job, while for me it won't.
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Feb 27, 2007 17:28
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Thanks you guys for the tips, that makes total sense. Following in that logic, would it be possible for me to hook my bass up and use that to control the gate? Ie instead of laying down a track of kick drums and sending that to the gate for the 808 replica, I can use the bass and sustain all the notes for the long, thumping hits?
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Feb 27, 2007 22:23
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mrWr0ng posted:Thanks you guys for the tips, that makes total sense. Following in that logic, would it be possible for me to hook my bass up and use that to control the gate? Ie instead of laying down a track of kick drums and sending that to the gate for the 808 replica, I can use the bass and sustain all the notes for the long, thumping hits? If the problem is your kick drum is only opening the gate briefly, you should try playing with the release time on the gate before you try adding another track just to control the oscillator.
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Feb 27, 2007 22:41
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I meant using the bass to control the gate. Like when I hear songs with a bass drum hit that carries for a whole bar, if I play my bass and make a track that has a sustained note for one whole bar, then shorter notes and use that to control the opening and closing of the gate, would that work? I haven't tried any of this stuff yet, I'm gonna mess around when I get home, I'm just theorising. I have no idea if that's even worth it, but my actual bass drum is at my parents' house and while I'm planning on picking up my whole set, I don't think using an actual kick to trigger the gate is gonna give me that long, sustained bass drum hit. But I don't know, I haven't tried yet. I'm excited, though!
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Feb 27, 2007 23:47
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It depends on the gate settings. I can't recall what the longest release setting is on the default ProTools gate, but it could easily be 2s. The kick drum only actually opens the gate, then the gate relies on its settings to tell it how fast to close. If the kicks don't work out for you, you could do it with pretty much any other instrument you want, including just yelling into a vocal mic whenever you want the gate to open.
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Feb 28, 2007 00:26
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Um, quick noob Q. I'm just doing some light recording on my computer with a mic, and before I would just get the vocals while I played some bg music, but now when I record it records both the "computer music" and what I'm singing. How do I... change that? Don't hurt me.
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Feb 28, 2007 00:43
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Is the music playing out of the speakers? If so, use headphones and then record. Otherwise I'm not understanding. Wixard, thanks, I'll try that. I'll give it a shot when I get home tonight.
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Feb 28, 2007 00:45
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No, it's recording everything that's playing on my computer. AIM bloops, mp3s, etc. Not the speaker sound, it records everything. I guess I basically want to record ONLY what's going into the mic. nvm. figured it out. guynamedjae fucked around with this message at 02:25 on Feb 28, 2007 |
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Feb 28, 2007 00:52
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Yoozer posted:That's indeed very nice and pretty much what I was looking for. Goodness the clock in my rosetta is the same as in the big ben, and there are no mic pres.
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Feb 28, 2007 04:02
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Right on it worked! I'm gonna go ahead and work this out and get some new sounds. I didn't know I could do that just w/ Protools. Rad.
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Feb 28, 2007 04:09
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Here's a question: Could you go cheap and skip out on buying monitors in exchange for buying some really high-quality headphones? I mean for 2-3 hundred you can get a drop dead sounding pair of headphones vs. the 500-thousand you'd spend on a really nice set of monitor speakers.
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Feb 28, 2007 08:03
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AtomicManiac posted:Here's a question: Could you go cheap and skip out on buying monitors in exchange for buying some really high-quality headphones? I mean for 2-3 hundred you can get a drop dead sounding pair of headphones vs. the 500-thousand you'd spend on a really nice set of monitor speakers. Yes, but they're not as good for mixing if you're going to listen on anything other than headphones. It's the simple truth
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Feb 28, 2007 08:18
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AtomicManiac posted:Here's a question: Could you go cheap and skip out on buying monitors in exchange for buying some really high-quality headphones? I mean for 2-3 hundred you can get a drop dead sounding pair of headphones vs. the 500-thousand you'd spend on a really nice set of monitor speakers. no pair of headphones will reproduce the sound of your mix in a room. also for the "protools sucks" crowd, how do you use side-chain/key inputs with other DAW software? Short of plugins that specifically support this, I've been unable to figure out how to use this trick with the plugins included with cubase/nuendo or cakewalk.
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Feb 28, 2007 12:59
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RivensBitch posted:no pair of headphones will reproduce the sound of your mix in a room. Logic has sidechain I/Os all over the mixer. In FL Studio you can't sidechain as such but you can simulate a sidechain like effect by linking two channel inserts/sends, choosing a peak gain relationship and drawing the automation into an envelope window using the paintbrush tool. Its not fully automatic and its not particularly fast but it achieves sort of the same effect. You can sidechain in Cubase - people on TA.com have done it but having not used Cubase since the Score days I can't comment on that one. All told though I am pretty sure you can either use a third party plugin or simply improvise your way around the lack of sidechain capability in your mixer. The only thing you need to be able to do is be able to modulate the gain of channel inserts/sends in the mixer. I think most DAWs can do this. Its not as quick or elegant as doing it the pro tools way but I figure theres not much you can't do in any of these programs. In a roundabout way you can get to the same place in pretty much all of these applications. The only difference really is the workflow and some people really love Pro Tools workflow. As for headphones. Well. It depends on alot of things. Bear in mind that nearfield monitors are designed to be listened to at a distance of no more than 2 metres and the reason for this is that the sound they project takes less time to reach the ear so room acoustics have less of an impact on the sound you hear. It doesn't work perfectly by any means but the greater the distance between your ear and the monitor, the more the room will influence what you hear. The human ear also perceives direction partly on the difference in time it takes for sound to reach either ear. Headphones (well built, well isolated ones anyway) will almost completely do away with the former influence which in my experience is often a good thing if your room is less than acoustically perfect. On the downside you get a very different sensation of direction, panned instruments and positional audio using headphones because sound from either driver reaches your ear almost instantly and at the same time. Hard panned left/right sounds feel unusual to me but its not something you cannot adjust to or anything. The key is to learn how your monitors reproduce sound. One thing I noticed about my Dynaudio BM5as is that they are very sensitive to positional audio. You have to keep your head in the same position when mixing. If I sit up straight/slouch or move my head a few inches to the left or right, I start to hear and feel that phasey kind of sensation when you listen off axis as with a stereo sound you are now changing the distance of your ear relative to the transducer. Therefore you really feel positional sounds on these speakers in a way I don't believe is possible on headphones. There are good and bad things about this. The good: excessively widened sounds really sound terrible on these speakers. You get a really good sense of panning an instrument and the direction it comes from provided you sit still and don't move the monitors. I think those Dynaudio AIR systems would be killer for surround sound monitoring because of this. The bad: You really do have to sit still. :/ I often get up and move around and sit back down and my chair isn't really a chair - its more like a giant beanbag on an ottoman. So I sometimes mix at home partially lying on my side (this is terrible by the way - don't ever do this )Sometimes I swear those speakers sound different every time I sit down so I keep having to move around to get the right spot and in the event of no such success I start moving the monitors around. A good pair of headphones eliminates this issue. It also eliminates alot of ambient noise (PC fans, traffic etc) which will probably get in the way. You can also get an awesome pair of monitor headphones for the price of a middle of the road desktop monitor system. I firmly believe you can monitor on anything provided you constantly do A/B references against other soundsystems (cross reference your mixes in your car, on your ipod and take notes). You will work out where each soundsystem is deficient and where it is hyped. I monitored for about 6 months on the free pair of guild wars headphones I got with the special edition. This was when my Dynaudio BM5a tweeter exploded and I was awaiting replacements. I got used to those headphones so much that I'm willing to buy another pair from any other GW collector's edition owners. My pair is getting tatty now. It is however, easier to mix on a good all round monitor as you make less obvious mistakes and you aren't essentially mixing blind. I feel there are things that are easier to interpret about sound when listening on headphones and things that are easier to interpret on desktop speakers. Ideally I would like to have a kick rear end pair of headphones, my Dynaudio BM5as and various other crapper soundsystems around the house, and my the soundsystem in my car. Because then I have loads of reference points that I can A/B against and work out precisely whats wrong with my mixes. I still need the monitor headphones. WanderingKid fucked around with this message at 14:39 on Feb 28, 2007 |
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Feb 28, 2007 14:30
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RivensBitch posted:I've had nothing but success with the 828mkII It's been said before, but I've had *horrible* problems with my 828mkII. It seems to be really finicky with your firewire card as well as other things. Problems I've had: -828 completely failed to work with my previous firewire card -When switching between sources of different sample rates (CD / winamp / nuendo / youtube ) throughout the course of the day, the motu clock tends to 'flip out' until you stop all audio and flip the sample rate manually. -It used to just *not work* intermittently requiring several reboots. This was fixed eventually after several firmware / driver updates, though I'm still scared to unplug it from my firewire port. Basically I've been saving for a rosetta 800 that should be showing up in a week or so which *should* be the end of my troubles. On the other hand, when it does work it sounds very good for the pricerange. It should be noted that I was able to eventually fix (i think) two of these three problems, and learned to avoid the third. Crystal Pepsi fucked around with this message at 18:20 on Feb 28, 2007 |
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Feb 28, 2007 18:01
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RivensBitch posted:also for the "protools sucks" crowd, how do you use side-chain/key inputs with other DAW software? Short of plugins that specifically support this, I've been unable to figure out how to use this trick with the plugins included with cubase/nuendo or cakewalk. Logic's got it. Works VERY easily. I recently used the side chain input on a gate on a track of noise to be triggered by the snare... bam, artificially rich snare sound  Nobody can tell it's not real!
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Feb 28, 2007 19:33
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Crystal Pepsi posted:-When switching between sources of different sample rates (CD / winamp / nuendo / youtube ) throughout the course of the day, the motu clock tends to 'flip out' until you stop all audio and flip the sample rate manually. YES YES YES I totally forgot about this. If I was unfortunate enough to turn on a preamp with optical ADAT out going into the MOTU AFTER turning on the MOTU and then having to switch sample rate or bit depth, total garbage noise. It seems to have no recognition of a mismatch - you'll get garbage noise OR duplicated inputs... Also, I had a Mackie Octopre crash (Yes, the preamp crashed. It actually got too hot and started sending out noise. We had to turn it off and let it cool down.) and the MOTU seems to have no automatic suppression of that sort of noise so... people recording with headphones got a bit of a blast in the ears.
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Feb 28, 2007 19:40
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Is it true that the pres on the 828MKII/Ultralite/Traveller become really noisy when you use the interface in high humidity? Some people claim they are really sensitive to temperature swings.
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Mar 1, 2007 14:36
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WanderingKid posted:Is it true that the pres on the 828MKII/Ultralite/Traveller become really noisy when you use the interface in high humidity? Some people claim they are really sensitive to temperature swings. This would explain a few things.... I don't unrack mine too often but this seems to ring true.
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Mar 1, 2007 16:36
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I have a cheap "Logitech USB Desktop Microphone". Which doesn't work for Linux, can anyone point me to a Linux compatible recording devise?
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Mar 3, 2007 20:00
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pnihill2000 posted:I have a cheap "Logitech USB Desktop Microphone". Which doesn't work for Linux, can anyone point me to a Linux compatible recording devise? http://www.alsa-project.org/alsa-doc/index.php?vendor=All#matrix ?
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Mar 5, 2007 03:11
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