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sondod

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  1. You know what I think this here may just be the key. I just realized this song goes back to LP7. So bouncing to audio it will be. Starting back in tomorrow... may be back here with some ?'s. Still wondering about automated bus effects if anyone wants to chime in.
  2. The track has 64 tracks and 12 busses (5 bus groups, 7 effects busses). Should I be bouncing the individual tracks and sending them to the bus groups as pure audio. Bouncing the bus groups. And on the effects busses I'm most concerned because of the ammount of automation going to those. Should i just bounce those and mix them in as audio?
  3. My main culprit would be the Liquid Mix, but i can start running into problems as soon as I start introducing bussing, whether its bussing the drum kit and adding effects especially if there are Aux effects being sent from the tracks. And yes I'm talking about the track delay parameter and - (neg) delay to compensate.
  4. But what about bus effects and automated effects. I never know how to handle these post effects properly. And are you doing stems or individual tracks?
  5. Surely I'm not the only one that runs into the painful pattern of finding tracks floating out of sync as plugins (usually of the third party variety) and busing is introduced. It gets particularly complicated when the track count starts increasing. You adjust the delay here only to find out it pushes the _______ out of sync. So you adjust that delay and _________ starts slipping. If you're lucky you find a combination that ends up working perfectly. If not though then what? Been working on a mix for about a week and am close to saying its not going to work this way. I'm thinking of bouncing all the tracks to audio with their plugin's either individually or as stems. Any and all suggestions in this realm would be greatly appreciated.
  6. Think I got it. 24 was the key. The files got unlinked in the transfer. I think. Not sure why. But shouldn't Logic still be able to guess this. Maybe not, I mean it took me a few hours to figure out.
  7. Just heard back from the artist. Files are 48/16. But they are split stereo. I can't get anything to open them linked (iceaudio didn't recognize). So an individual file of a split audio would it be at half the rate and bit depth? That doesn't seem right but would explain why I'm getting results in the 22.254 range. And I never tried 24. Actually let me try that now.
  8. I have all the calls out, but I know folk are traveling for the holidays. I'd rather not have to wait until monday or tuesday if i can avoid it. I can get it to play something by importing it in to wave editor at 16 or 32 bits with a sample rate of 22.050 or 22.254 but neither of them are playing at the right speed. 24bits won't import at all. Floating vs signed doesn't seem to matter much. I've never had this problem with SDII split files before. I'm trying some more experimentation now.
  9. Sent by an artist, it no longer has bit depth or sample rate meta information so it doesn't open in logic. I spent a few hours yesterday going through the different standard combinations using Wave Editor to guess and import. But none of them seem to work. Anyone encountered this before. I may be able to provide a link to a smaller file if anyone wants to give it ago. I'm having trouble reaching the artist to find out so am in a bit of a bind. Any help is appreciated.
  10. See that's my biggest issue. They went in some amazing directions production wise that all went down the toilet in a poor mix. I was chalking it up to mp3 compression at first but now I'm pretty sure its just poorly mixed. There are producers working out of bedrooms smaller than the bathroom where they recorded that could have gotten better results.
  11. I really like the songs but have a hard time listening to it because of things to my ears just sound distorted. Maybe I need to do some more acoustic treatments here.
  12. Liquid Mix. They have the Liquid Mix Challenge up on the site now if you want to A/B the LM vs Hardware, btw.
  13. another $0.02 (value depreciated of course) the loudness war kind of moots the whole comparison. all these big outboard studios get that real quality, for sure, but it all gets compressed to utter crap so who cares. and funny how this became an itb vs otb thread. truth of the matter is for the best results, combine. and i'm sorry but in a digital world hardware equipment can be sooooooo limiting. we're living in a different age. its no longer about having that one box on that one setting that gives that perfect sound. its about creating sounds, from synthesizing new sounds to 'synthesizing' new outboard signals. if you're for the old school approach then cool, save your chips and buy a bunch of really cool boxes. but if you're looking towards the future you'll have to break out of those boxes (uhhhh the mixed metaphor is breaking down here). all this hubub about what is professional IMHO is bullshit. professionalism is in your approach to the music not what you use to create it.
  14. Mackie Onyx Satelite? I've never used it but love the concept and am looking for someone to guinea pig. j/k kinda. I do know the Onyx pre's are pretty good. I just don't have a real use for it right now. Worth lookin into.
  15. Show me a $499 studio and then we can talk about comparison.
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