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Zooey

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Everything posted by Zooey

  1. That was an early interest of mine since I was so into sampling. There's an art house documentary called "Sonic Outlaws" that covers the basics in an interesting way. They interview an attorney named Alan Korn who has also written some legal articles for Tape Op. I went into technology law instead, but I did give a lecture on the Blurred Lines case to a music business class at Stanford last year.
  2. If this scheme is viable, and I don't think it is, there's nothing stopping someone from doing it for profit.
  3. Proof that this forum was not always boring as {censored}.
  4. Therefore, two different ways of getting to 44.1 kHz can potentially sound different. And in this case, they do. I think what your test demonstrates is that tracking at higher sample rates sounds better to you. Your test also demonstrates that you hear a benefit to tracking at 48k that persists even after you convert to 44.1. That's an old debate, but if you hear a difference, just go for it.
  5. I'm in a bit of a rush right now so I can't go into detail or double check what I'm about to say but... When an A/D converter puts out a digital signal, it doesn't start as 44.1 kHz or 48, 96, etc. I think (I could be wrong) but it starts out as a 1 bit file with an extremely high sample rate. The waveform is represented as accurately as possible in an extremely primitive form (1 bit = just 1s and 0s, on and off). The A/D converter isn't done yet though. It uses a built in sample rate converter (the same thing you'll find in software, like r8brain) to send the audio to the computer at the desired sample rate. The built in sample rate converter can potentially sound terrible. If your built-in SRC algorithm truly sounded bad, then I promise you that it would impossible to improve it by running an additional SRC algorithm on top of it. This is assuming I accept your theory about AD conversion requiring a built-in SRC algorithm, which I do not. I do appreciate your post, though. I just don't agree with the assumptions you made going into your test.
  6. I guess what I don't understand is why recording natively at 44.1 necessarily involves a sample rate conversion.
  7. So, since nobody's playing... the first halves (bright and lively, remember) are recorded at 24 bit/48 kHz, exported from Cubase 5 (24 bit/48 kHz) and converted to 24 bit/44.1 kHz with Voxengo r8brain free. The second halves (dull and dead) are simply recorded at 24 bit/44.1 kHz in the first place and exported that way as well. So basically, this is not a sample rate conversion shootout.
  8. My only comment: given a choice, I would not record music on a Roland workstation. Been there, done that, didn't enjoy it. Also, the VS880 I used to own lost value faster than any other piece of audio equipment I have ever purchased. Including ADATs. I'm not a pro, so YMMV.
  9. It seems to me like you still get the benefit as i've listened to music recorded using 50KHz mics through 28KHz headphones, comparing to the 30KHz version of the same mic there is a big difference. Do you happen to know what the sample rate was on the recordings you compared?
  10. Ok I know if you use 4:1 ratio and threshold is set at -12dB then that means if signal comes in at say -3dB it will be compressed down to -7dB is that right? 6.75 dB, I think. But I don't really find it too helpful to think of it mathematically like that.
  11. Bass traps are a good idea for any room, but I would start by identifying what you think is "bad" about your vocal sound. I've tracked vocals in rooms with those dimensions without problems. In my considerably smaller room, I'm also using a PVC. Works great, though I've never aspired to have totally ambiance-free vocals.
  12. The thing with the 002 is you can only use it with ProTools software. Not true.
  13. Snakes without special cabling for speakers will have all low voltage shielded cable in them. You don't want to run speaker level voltage through those cables for the same reason you wouldn't connect your speaker cabinet to your amp head with a guitar cable; the cable just isn't rated for voltages that high. But yeah, it will work - for a while. Yep. Thankfully, long speaker cables with 1/4 plugs are not that hard to find.
  14. That's funny. I don't really give a crap about looking professional. My motivation to upgrade to LCD screens will be environmental and/or when my CRTs die. I'd much rather spend money on my signal path. If you often record guitar or bass (especially with single coil pickups) while standing anywhere near your CRT monitors, I think you'd find the upgrade to LCD to be well worth it. But, like you, I wouldn't do it just for aesthetic purposes.
  15. My humble room. Best piece of equipment is the portable AC unit. Despite the low-keyness of everything I
  16. Its not really an attenuator. Think of it as a master volume. It will allow you to drive your tubes harder if you don't have a master volume already. Attenuator was a bad choice of words in this case since we were talking about power soak type devices. I should have thrown in the words "line level" before attenuator. I believe what the device does is attenuate the signal entering the power amp. Correct me if I'm wrong. Also, I can't think of a single amp that has an effects loop that doesn't already have a master volume, so I'm not sure I'd think of it as a master volume.
  17. Got the same amp with a Marshall 1960A cab sorry never heard of omnisonic what is it? It's an attenuator (a volume pot, basically) that knocks down the level of the preamp signal entering the power amp. Instinctively, it doesn't seem like it would work that well to me, but I've never tried it, so take that with a grain of salt.
  18. Is the airbrake hard to set up? Nope. Speaker cable from amp to Airbrake, then another from Airbrake to cabinet.
  19. I use the Airbrake. Coloration is almost inaudible up to the fourth click of the attenuator (something like 7-8dB). A cranked 18 watt amp with 8dB of attenuation is still really loud. For the extreme attenuation, the THD Hotplate can inject some of those frequencies that the attenuator takes out with the EQ switches. It's an imperfect solution, but I would recommend the Hotplate for people who really need to take it down to whisper soft levels. For louder gig and recording levels, the Airbrake sounds better.
  20. And you consider my reference to automated compression as "intelligent compression" freakish? And that it's mixing? Interesting. I thought you were referring to fader rides as "intelligent compression." That's an interesting metaphor, but totally turns the concept of mixing on its head for me. If you were talking about automating compressor parameters, I totally agree with you.
  21. Using automation to take the place of a compressor is a wonderful thing. I do this all the time, and like to refer to it as "intelligent compression". I refer to that as "mixing."
  22. This is usually what you want for vocal recording. Um, no.
  23. One thing that the video taught me is that a little room sound is desireable, even in a bad room! The radio announcer sound is very impressive and all, but it's not usually the sound you're looking for in a mix. Maybe moving the portable vocal booth back a little would strike a nice balance.
  24. I don't typically use any EQ on the 2 buss. I've tried using a HPF way down in the bass region, but it doesn't make a big differences to my mixes. Comp is another story. I'll typically have 1-2 dB of mix buss compression while I mix, and I'll print the mix like that every time. IMO, you can't slap it on afterwards and get remotely the same result. It's not for loudness, either (1-2 dB of GR would be pretty pathetic if loudness was your goal).
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