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I have a few gear questions. What's everybody think of the MOTU Traveler? I'm looking for a new interface and was considering that... I want something that I don't have to upgrade for awhile, and will give me a good number of I/O's. It's This is going to be used mainly for hooking up outboard gear (compressors, synths, etc), and routing, not recording. I also like how it can generate timecode. Also, I was looking at the Behringer Ultrapatch Pro PX-2000 for a cheap and basic patchbay. This is because I don't have much gear, and I don't want to hardwire things to my interface, and I don't want to have to get some TT bay and solder poo poo to the back of it. At least not anytime soon. Normally I'm not a huge fan of Behringer, but for $50, and for just a mechanical device, that's not an issue. Thoughts?
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Apr 18, 2007 23:06
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I've heard that things like the MOTU 8Pre are kinda.. iffy, but the Traveler/Ultralite are supposed to be really loving solid, which was why I was looking into them. I was also thinking of getting a MOTU Timepiece of of these days, just to use for master MIDI/sync. It's got MTS, ADAT Sync, Word Sync Out, Video Sync in. I'm not a huge MOTU whore or anything, and aside from maybe the Ultralite, those are probably the only things I'd buy from them. Is there anything other than the Timepiece that rocks for master sync (and I don't want anything Digi, like the Sync I/O)?
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Apr 20, 2007 11:50
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Yoozer posted:Well, I hope I can get a bit more help here. Think of the patchbay like this: All it does is make your gears inputs and outputs all right in front of you, so you don't have to crawl behind your rack everytime you want to plug something in or out. You should patch ALL your gear into the back of your patchbay. You don't need to normal or half-normal your patchbay in your setup, since your software is controlling most everything. Patch OUT over IN for your insert and send effects. Out over in is the "standard" setup for patchbays. It's also the way that I roll, and I can take this opportunity to force my values on everybody. I have no idea what the hell that flip over means, but I'll draw you a diagram. Your patchbay should be straight through connections (which means that the rear patch is feeding the same patch on the front. You'd use half-normalling for making insert sends and returns normally, but not with your setup. Change that.  Everything should be plugged in as shown. I didn't put everything in there (redundant), and you can change the layout (BUT I WANTED MY AUXES ON THE OTHER SIDE!!), but otherwise, in this category. Put your effects modules out over in (output as the top patch, input as the bottom), as well as from your interface. All these connections go in the back, the front should be blank when you're done. Use straight-through, not full or half normalled. The green dots represent whats hardwired to your audio interface (which is what your computer reads). I drew it as if you had 9in/9out, but you can work it with whatever you've got. It plugs in exactly the same way as any other piece of gear. So, lets say you want your JP8000 to go into Live. Make a track in Live and set it's input to one of those channels on your audio interface. From there, on the FRONT of the patchbay, patch your JP to that same input on the patchbay where your interface is connected to. Now, your JP is going to be sending signal on that channel. Lets say you want to add some effects to a channel. Make a send track, and route it's input and output to corresponding connections on your interface. Patch your effects box into the channels your put your send and return on, just like you did with the JP (except you're patching ins AND outs this time). That's basically it. Exactly how you set things up with your hardware and software is up to you, although I would always keep my Effects inputs and outputs on top of each other, and keep your effects and your instruments seperate, as well as your Auxes and Inputs, if you make them dedicated. It just makes it simpler in the long run, to organize things. Plus, you can print labels really easy for it. Once you find a way you like things (with your I/Os, say you want your V-Verb to always be send 1), you can go into Live and save that set as a template so it'll load up like that every time. Oh, and one last thing. Your MIDI outputs from your computer to your gear, bypasses your patchbay. Patchbay is for audio only here. If you've got a Unitor8 or something, that's where you'd plug your MIDI in to, and control it's transmit channels with software. Fixed the picture. It has an interface and compruder now! This is an artists rendition of how everything should look when you're done (assuming you've made 1 patch for whatever reason). 
PRADA SLUT fucked around with this message at 23:49 on Apr 20, 2007 |
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Apr 20, 2007 23:06
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You only need to worry about poo poo like... channel path / monitor path, multitrack sends and returns, monitor out, group out, normalling vs half-normalling patch points, etc, if you're working with a console, which has multiple inputs and outputs per strip, which all need to be fed somewhere. With software, you can set up your I/Os in the program and not have to worry about changing your physical connections.
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Apr 20, 2007 23:52
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Yoozer posted:Every diagram I've seen until now shows me what should be put in the back. You just label the front, with what's connected in the back. This is what the front of your patchbay should look like, except without cables sticking out the front.  So, for your Virus, you'd put VIRUS and then underneath it you'd put L, R, above the points that it's jacked in to. For your M300, you'd put M300 then Output L, R, and below that, Input L, R. You don't hook any gear up the front of the patchbay. The ONLY thing you EVER do on the front is patch in poo poo as you use it for projects. The point of a patchbay isn't to "chain" effects like you're thinking of. You can chain effects by plugging them directly in to each other. The point of a patchbay is to have all your I/O's for all your gear right in front of you so you can plug them in and out easily. That's all. Nothing else. So, when your patchbay is 100% set up and ready to use, you'll have every input and output of your gear plugged into the back, you'll have the front labeled letting you know which front jacks are associated with which gear plugged in to the rear and there shouldn't be a single cable sticking out of the front. None. Zero. You plug in cables to the front, as you need to use them for a project, thus, making the connections between your computer, gear, and effects processors (without having to crawl behind your desk or rack every time you want to change something). This is why there's no front diagram...... it's blank. edit: I'm going to take a shot in the dark here, but does anybody know who manufactures the above patchbay? PRADA SLUT fucked around with this message at 04:18 on Apr 21, 2007 |
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Apr 21, 2007 03:17
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wixard posted:Looks like an SSL to me, but I could be wrong. Does SSL manufacture that patchbay seperately, or is it something that comes with the console only? I've seen that patchbay on the SSL 9000j before. I've never seen a new one unhooked up, so I don't know if the patchbay comes pre-labeled and colored like that already.
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Apr 21, 2007 12:53
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I'm pretty sure I'm not though unless those colors are standards for things like insert points, tape ins, mic ins, line ins, tape sends, etc.
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Mister Bung posted:I've just put together a new PC and I want to be able to use a keyboard to start making some stuff in it. The keyboard I have has a MIDI port on the back of it and a plug for a sustain pedal and that's all. What do I need to get it to be usable in something like Logic or something like that? I've been through the links in the first post but I'm still kind of fuzzy. You need an interface that you can connect MIDI devices to. Either that, or you need a MIDI to USB adapter. The latter sells for about $50. The formers price depends on a number of things, like if it's an audio interface as well or just a MIDI interface. Newer MIDI keyboards have MIDI over USB built in, so you just plug in your USB cable and go. PRADA SLUT fucked around with this message at 19:14 on Apr 21, 2007 |
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Apr 21, 2007 19:03
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The SSL patchbay isn't attached to the frame of the console.. I've seen them hanging on racks before. I know that the SSL comes with a patchbay, it'd be impossible to use without. More, I was curious is the patchbay the SSL came with, is available as a standalone unit, to wire yourself to whatever you want. I mean, a patchbay is a patchbay, I just liked the look and feel of the SSL one a little better than oh, say one from Switchcraft. My absolute favorite patchbay is the one from the AMEK 9098i (I wish I had a picture of it). If you've seen it's layout, you'll know what I mean. It drives some people up a wall though. I have a gigantic signal flow chart hung up on my wall for reference. As stupid as it sounds, that's one thing that a hell of a lot of people I've met don't know, and it's the basic foundation of anything production-related. If you understand signal flow, you can use pretty much any console on the planet, from a little 24-channel ghost, to an SSL that takes up an entire wall. Plus, the patchbay seems a hell of a lot less scary then. If you type something out and make a post about it, I'll contribute to it. I might even be able to scan a smaller signal flow chart to post for everybody too. PRADA SLUT fucked around with this message at 00:31 on Apr 23, 2007 |
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Apr 23, 2007 00:17
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Some people pan drums audience perspective, some do it drummers perspective. Then, you get people like me who pan it god-knows-how.
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Apr 27, 2007 03:18
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Corey posted:I have a question regarding external hard drives. I was recommended in the old thread that I should buy an external hard drive because my internal drive is only 5400 rpm and it's harder to record multiple tracks that way. You can record to a FireWire drive from a USB audio interface. Also, 5400 RPM drives aren't that bad for recording, depending on what you're doing. The only time they have problems is if you're recording a lot of tracks at the same time, or if you're using the same drive your OS and software is on, and trying to read/write (and recording multiple tracks). I have a 5400 RPM internal system drive and I can record just fine (44.1/24), a few tracks at a time. Of course, there's no way I'd be able to do like a 24 track tape bounce to it or anything, unless I did them in batches.
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Apr 29, 2007 17:03
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Unless posted:I've always been really fascinated with the demoscene and the old ZX Spectrum kind of 8-bit sound (think Contra theme). How is this sort of music made nowadays? Is there anything special or is it just tinkering around with synth settings, as I'd really like to emulate it in my production. I using whatever is available for PC, so Reason, FLStudio, Ableton, Cakewalk, etc. but I'm mostly familiar with FL, if that helps any. Try BitBoy from here. I actually used on of his glitch delays for awhile, too.
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Apr 30, 2007 03:07
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You're fine.
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May 7, 2007 23:12
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MrSaturn posted:I'm putting together a new computer in the next few weeks, and I intend to use it to record. I'm interested in recording myself playing acoustic guitar/singing, or recording a full band (2x guitar, bass, drums, vocals). I'm not too worried about furnishing microphones, those are provided by a friend of mine, but I am absolutely helpless as to what hardware I should get for the PC interface. Get an interface that has enough I/Os for everything you want. If you want to record guitars, you need 1 I/O each, 2 if you're also going to DI, same with bass. If you're doing drums, you'll need anywhere from about 6-7 (minimal) to about 12-15 (lots of micing). Vox is one as well. So, if you're recording all at once, you'll need enough I/Os to be able to plug in everything at the same time. If you're going to track separately, you'll just need enough for the drums.
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May 8, 2007 04:11
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DoctorJones posted:I have a presonus firepod to use over the summer to record with. Which recording software would work best with it? I have limited experience with Sonar, but I figure I'm starting from scratch with whatever I choose and wanted to keep my options open. Check out Ableton Live.
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May 9, 2007 22:56
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Quiz Show Scandal posted:What kind of software instruments come with ProTools LE? I guess my main concerns are that there's a decent sounding piano and perhaps some way to accurately simulate a Rhodes piano. Thoughts? I can't speak for LE, but Rhodes are pretty easy to find in sample packs, and some samplers will come with them. If LE doesn't have what you're looking for, try a sampler plugin.
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May 9, 2007 23:58
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The Ultralite and 8pre are entirely different things..
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May 11, 2007 05:00
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ampleforth posted:I would like it very much if some of our elder statesmen of recording would talk about EQing for a bit. I understand that the best records have niches carved out in the frequency spectrum for each instrument so that the mix sits tightly together and everything is happy, but I do not have the years of experience to know what freqs go where, beyond the obvious midrange jumble that male vox and guitars and pianos are fighting for. Here's the secret. http://braincleaner.net/?q=node/9 For additive EQ, do the same thing, except when you find something that sounds NICE, widen the Q, then pull the gain down to 0, and slowly bring it up until you hit the sweet spot you like. Narrow Q when removing, wide Q when adding. PRADA SLUT fucked around with this message at 04:36 on May 29, 2007 |
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May 29, 2007 04:32
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WanderingKid posted:No recommendations really. I have come to the realisation that monitors are important but what is more important is getting used to the sound of the ones you own. That's the trick. I've mixed on some abysmal speakers before, some cheapass $30 desktop speakers, and some $5,000 Genelecs. It all comes down to knowing what your speakers sound like, and how to adjust for that. Find a song that you know through-and-through, and have heard at least 3,000 times, and play that track on the speakers you're looking at. That'll give you an idea of what they sound like. Once you know what the speakers sound like, and after a week or so of mixing, you'll get used to their responses, and start adjusting your mix around that. The NS10's sound like poo poo, they have a boost in mid frequencies. When mixing with them, most people try to mix flat (which isn't flat, it has a boost in the mid). When they go off the NS10's and listen elsewhere, that bump is gone, and essentially, it reverses what the engineer did to compensate for it, giving it a dip in midrange, making that nice smiley-face frequency response that people like.
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Jun 16, 2007 07:59
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External Organs posted:I have a microphone question. If you've got some attack from hell on it, you could try using some dynamic mics like they mic drums with as well. Of course, it could also turn out sounding like complete rear end, but that's recording for you. I'd spend the five minutes messing around and seeing what sounds you can get.
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Sep 6, 2007 19:52
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