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jamiewamie

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  1. Hey guys, I thought some of you might be interested in this. BeatElite.com create and sell some awesome templates for a range of DAW's (including Logic Pro of course) and they've been running some awesome competitions as part of a new marketing campaign this Christmas. Today is the chance to win any template (they have a load of templates for Logic Pro, it seems to be their preferred DAW) from BeatElite by simply 'Liking' their post over on their Facebook Page, www.facebook.com/BeatElite The post is titled "'Like' This Post Today To Win!!" so it's pretty easy to find! www.facebook.com/BeatElite Hope it's of interest to some of you!!
  2. Thanks for the reply Scott! Sounds good, I'll investigate ethernet hubs now - are there any points to note about these (quality etc)? Have you looked into getting an MC Control? They look quite cool, just not sure if the navigation section would come in handy? Best, Jamie
  3. Hi guys, I had a search online for this, and on this forum, but to no avail. I understand the Mc Control or Mc Mix, whichever you desire, can be connected via the ethernet ports to your Macbook Pro, but can a multitude of these be connected to a single laptop? I guess it's a question about how the units connect - do they chain together, requiring only one unit to be directly connected to your laptop/ computer, or does each individual unit need to be connected directly to the laptop/ computer without any daisy-chaining involved? If the last point is correct, is there a way of buying a multi-ethernet adapter (similar to a multi, powered, usb adapter)? Thanks, Jamie
  4. Hi guys, I'm sure a lot of you have at least thought about building your own studio - either converting a room/ basement or even using a section of the garage, but have any of you delved further by researching or actually doing it? I spoke to a studio builder about a year ago and he quoted me £4,000 to build a room-within-a-room construction the size of a single garage within my double garage (minus a little bit each way) that was fairly sound isolating (about the same degree as a standard brick walled house) and which would incorporate his own style of wall tilting and materials to give the listener the best room to work in when mixing! He's been tried and tested by many accomplished producers and was recommended by a friend - this design would also be easy to dismantle and erect, taking only a couple of hours to re-erect in a new location, which was a bonus considering I hate to think my money could be a waste if I was to move. I have however had reservations about spending such a large amount of money and wondered if I could in fact build my own studio space out of sections, spending a couple of weeks - months building it and constructing a fairly good quality, warm and dry space. Has anyone done this? Can anyone think of some issues other than the obvious 'can you use a hammer?' that might affect the build or require a more experienced hand at the job? Thanks! Jamie
  5. That's a cool link, thanks mate. I am familiar with similar techniques. What I can't seem to do is copy this (or a similar sounding) synth, what sort of waveform is it? Has it been created using that typical 'dub-step' wobble (whomp) technique? It also sounds like it's been bounced down and the audio cut-up? Jamie
  6. Hi Guys, I'm trying to replicate a bass-line used in a Roll Deep song called "Green Light". It's reminiscent of many typical electro dub-step bass-lines and it sounds as though the LFO is being edited fairly regularly to give a different attack in different parts of the track. Any help on which synth could be used to make this (I'm sure my Sylenth could do something similar) etc would be great. Thanks!
  7. Ski, it's the Access Virus TI2 Polar; http://www.dv247.com/keyboards-and-midi/access-virus-ti2-polar-synthesizer--61829 Jamie
  8. @fader8 thank you for those links. No I didn't specify anything because I'm happy to pay, I'm happy to use stand-alone's or plug-ins. In the case of the Spectre I was simply asking/ clarifying that I wasn't being an idiot and missing a key trick to getting it to work for me (I probably am, but still cannot get it to work)...
  9. I tried Spectre a while ago, but couldn't get it to work! It's not a plug-in is it? You have to route audio to it as a stand-alone software!? I contacted the company but they weren't any help. Jamie
  10. Thanks for your help and links guys...much appreciated! Jamie
  11. Would you guys be able to recommend a better spectrum analyser to use on a mac?
  12. This is just terrible. How is this ever a good thing? It works for some people. I must clarify that I'm specifically talking about dance music. If the end result is good who's complaining how it's mixed?
  13. Sure he'll have to replace things one day, but next year? Try ten years. And most of his stuff is UAD and powercore based, so correct me if I'm wrong but it's only the cards/ boxes he has to replace as the company will either give you a free update or charge you a very small fee to update. Was that last comment sarcastic? It's trivial whether music today sounds better than it once did. Some people prefer hearing warmth in tracks which you can only get from big old desks, others prefer a clean sound that screams out 'digital'. Another reason for these 'new breeds', if we can call them that, to use their eyes as much as their ears is that budgets for projects have fallen considerably, therefore people don't have the money to buy big sound proof studios with custom built monitors and a pair of NS10's, they only have enough to put a pair of small KrK's or any other project studio monitor into their acoustically bad spare bedroom or cellar. Therefore they often need to 'see' what their doing more so than hear it. I'm only speaking from the experience and conversations I have had, I'm sure this is not the case for a lot of engineers coming up the ranks, I even know some that work in big commercial studio's and mix on Neve's and SSL's everyday.
  14. You get some people who love using outboard gear because they learnt that way, and they love the sound of the hardware, but other people use plug-ins. One advantage with plug-ins is that they are cheaper. They also allow you to use multiple instances of them... so for example you have a song with twenty tracks, you have bought a £300 compressor and you can use it on EVERY track in that song. If you wanted to use your £1,000 hardware compressor for each track you would either have to send the audio from each track (one by one) to the compressor, route it back into your computer and record it. This would take a long time and you cant save the settings on the compressor, so you would have to make notes or take pictures for every track in every project (if you wanted to be able to revert back at a later date). The other option of course is to buy 20 of the compressors which would be stupid and cost £20,000. I don't have any 'out-board' gear and don't plan to buy any at all. I get an engineer to mix all of my tracks and he has a whole host of plug-ins that must have cost him at least £10,000 in total. He is also of the new generation of engineers who uses his eyes just as much as, if not more than, his ears, using a spectral analyser. I know of producers that make the most incredible music (of course it's often mixed by an engineer at the end of it before being mastered) with an iMac worth £1,000 and an audio interface worth a few hundred pounds, with Logic Pro 8, a few software synths and plug-ins. Oh and not forgetting a pair of £500 monitors. A budget of £2,000 can easily buy you enough equipment to make chart topping music. It's your ideas not your equipment...especially as software synths and plug-ins are so cheap these days. Jamie
  15. I guess it starts off with a lot of investments. You have to take a risk and buy equipment with the knowledge that it will most likely take time to get any good, and there's no guarentees that you will ever get 'good'. A lot of the guys here, including myself, make a living from music, so money is available to spend on new equipment, and a music producer always has to allow for a certain 'spending budget' each year. Some of the guys on this forum though will be earning huge amounts of money a year from music and the cost of a new Mac Pro, software synths, harware, monitors and so on are really not that great for them. When you consider a 'House' Producer can earn upwards of £5,000 GBP pre remix, sometimes even double that amount, you can see how this equipment becomes affordable. As I say you do at one point have to take a risk and spend your cash on equipment and not go out for a month, or cancel that all important holiday. I'm making a massive investment in a new (small) studio in the next few months... but I know it will pay off in the long run. Jamie
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