Paul_Caruso
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Posts posted by Paul_Caruso
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Some stuff sounds a tad too bassy or a little too loud or soft in a live mix I did... maybe I'm just nitpicking tho... Or maybe I just need to do it over.
If it's a mixtape I would just automate the quiet and loud bits rather than compress or limit, the tracks have already been mastered so you should just be compensating for the level of whole tracks.
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Ok, wow - there's some bad advice here.
Music is about ears not eyes. There are no 'peaks and valleys' there is no 'look at the spectrum analyzer and fill the gaps' - there is only "if it sounds good - it is good."
If you send me a song or mixtape or whatever to listen to, I don't get the spectrum analyzer out and think "well, it's all pretty even - good song!". I listen to it and if it sounds good - it is good. You should get to know the sound of your speakers in your room and mix with your ears. To get to know your speakers listen mixes you've done in other places (the car, other stereos, ipod, laptop) and compare what you're hearing there to what you heard when mixing.
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You might try creating an 'Enhanced Podcast' which is basically an .aac file with embedded chapters and images etc. I think you can only play these on iPods or iTunes - google it and I'm sure you'll find out how to do it easily enough...
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Go to tapeop.com and sign up for a FREE subscription. It's a real magazine and get's posted to your house FOR FREE!
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still need some dam nut and bolts small enough to fit on one of em to boot!
Me too - I've lost one of the nuts!
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I went to Uni with Wooz from Flaredy Cats - I hadn't thought about them for a very long time!
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I honstly used to play 4, 5 and sometimes 6 hour sets with a shoulder bag of records. ABout 40 12"s, 20 cleaver compilation albums, 20 7"s and 6 cleaverly made CD's.
Of course you could, 6 CDs is 7 hours of music on their own...
If you want to cut down on records look for compilations, albums and records with good b-sides.
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Just for reference peep www.gemm.com
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Apologies - looks like a new tonearm is £51.99
http://cgi.ebay.co.uk/TECHNICS-SL1210-1210...%3A1|240%3A1318
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I think you could be in a awkward situation with this problem, price-wise. I'm guessing a new tonearm will be a ton at least plus labour for fitting. I'm guessing labour at at least £30 an hour for an hour minimum. You could pick up a whole new table for under £200 and have a full set of spares. Plus if yours still technically works why not just pull the counterweight back to minimise record burn and you'd be rocking a 3 table setup!
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www.myspace.com/paul_caruso
A couple of jazzy instrumentals there if she's into it.
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Yes what you were hearing there is the RIAA eq curve. Due to the nature of vinyl grooves, they boost the treble and cut the bass when cutting the record. A phono preamp has RIAA curve compensation which boosts the bass and cuts the treble by the same amounts they were altered by during cutting - bringing you back to normal.
Just a lil' bit of science for you there.
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What about this more like:
http://www.mixmeister.com/scratch/mmscratch.asp
This isn't helping me fight the urge for an iPhone!
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If you're looking at KRK I use the V6s in the studio daily, they sound good and clear but they won't make your music sound any better than it is so they're perfect for mixing (mixing tracks or beats as opposed to djing.)
I think the V8s would be a bit too much low end for a bedroom and the V4s won't make you feel the low end enough...
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Cheers Steve, that looks like a pretty good deal to me!
I'm most likely gonna make a purchase this week, my laptop's on its last innings and can't really hang about....
Regarding soundcards, I've been looking for something dope that's got RCA inputs for recording mixes into audition, that's going to give me a really good quality recording. The card on my laptop would only record what had been assigned to the left channel of a song (e.g. the rhythm guitar from an Arctic Monkeys song, but not the lead guitar or the bass which was on the right channel when played)
So far I've found an external one - Terratec Aureon 7.1 FireWire.
I really should bone up on my PC knowledge, shouldn't I? lol
What do you want the soundcard to do beyond recording mixes (stereo in?) Do you need it to do 5.1/7.1 etc? Number of inputs? mic preamps? midi in/out?
Let me know and I'll make some suggestions.
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Yeah when the drive on my laptop broke I had a replacement within 24 hours which was pretty fly. It did take me an hour on the phone to tech support though, only because they were -very- thorough and I was just basically saying all the way through "I know about computers, trust me - it's fucked!"
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Sorry guys, I figured that since I've been too busy to even dig out some samples - when the fuck am I going to find time to make a beat - I'm out. I'm looking forward to hearing the other entries though.
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I haven't heard anything about non-factory 2000 (xl or otherwise) OSes, specifically I've only heard that there -aren't- any others. I could be mistaken though...
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The SM7/SM7a/SM7b is a classic hip hop vocal mic. It's warm and round but the output is on the low side so you'll need a preamp with a lot of clean quiet gain to stop things getting too noisy - I wouldn't really worry about it too much though. You can get a 2nd hand one from eBay USA for about £150.
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A small footnote to add is that a Bi-Directional polar pattern is often referred to as 'figure of 8' and there is also super-cardioid and hyper-cardioid.
Super-Cardioid
Hyper-Cardioid
Otherwise, great stuff.
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Hmm I see how that way of putting it would make sense but a general audio principle is gain staging. To keep signals flowing correctly and keep noise levels down you should balance your levels at each gain stage (ie. every volume control.)
Everything has a signal to noise ratio, if you have no audio coming out of your cd player there's still a little bit of noise right? And if you don't have anything connected to your amp and you crank it, there's a bit of noise. Your signal to noise ratio is the balance between that noise and the audio that you actually want to hear.
If you have your amp wide open and your source really quiet, you've turned the amp's own noise to the highest it can be and then you're also amplifying the source's noise, which isn't being 'drowned out' as effectively by the audio. That doesn't sound like a good situation to me... What you want to do is balance the source's s/n ratio so that you're only hearing the audio. However, you don't want to crank the source up so loud that it distorts the input stage of the amp (or whatever's next.) Then turn the amp up a bit and balance the level there.
Balanced living is best for everything - diet, audio...
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I'm down if it's not too late, I'll supply some samples asap.
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No suggestions on passive monitors but power-wise you're golden.
It's a good idea to have more power on hand than you actually need, the amp won't be struggling to move the speakers. Think of it like a body builder picking up a can of coke compared to a child, the kid can probably pick it up but the body builder will find it much easier. The body builder could crush the can but won't under normal conditions (ie. don't turn the amp up full - if you show the speakers its' full power it will blow them.)
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On the page you linked to: Resources tab -> 5. FW-1082 Owner's Manual: (download) -> page 33 of the PDF under specification.
Power requirements
External power adapter AC input 100V AC, 50/60Hz
120V AC, 60Hz
230V AC, 50Hz
240V AC, 50Hz
Adapter output voltage 12V, 2.5A
Power consumption 22W
Peak inrush current 2.6 A
Reel to Reel
in EQUIPMENT & AUDIO PRODUCTION
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1/2" 2-track? What machine? Are you sure they are 1/2" (rather than 1/4" or 1/2" but not 2 track)? 1/2" stereo machines are generally quite posh/expensive and also large so you wouldn't really stumble across "some".
You can either bounce different instruments or samples to the tape and back into the computer or you can record the mix to tape and back into the computer, or as you say print the mix to the tape and take the tape to mastering. If you want to use the tape as an effect I'd suggest that you record what's coming off the repro head as you're recording to the tape, if the machine doesn't have a repro head it will really be a pain in the arse.