51m0n

http://www.youtube.com/watch?v=L7y9yChV478&feature=related

http://www.youtube.com/watch?v=N1tTN-b5KHg&feature=related

[quote name='spiderjazz' timestamp='1331438196' post='1572862'] Can't recommend room treatment enough, [/quote] + All the rest...

[quote name='discreet' timestamp='1331548480' post='1574385'] Are you busy on the twenty-fourth? [/quote] Haha! Almost certainly

[quote name='silddx' timestamp='1331504596' post='1573990'] Quite. To the nay sayers, how do you think you navigate information now, as opposed to 15-20 years ago? [/quote] With the best available tool for the job. UI and human computer interfaces is my bread and butter, and nothing, NOTHING, beats a good mixing desk for speed and convenience with sound engineering. [quote name='silddx' timestamp='1331538154' post='1574200'] My point is that we now have highly evolved graphical interfaces to information. Why not use these types of interfaces for a mixing desk? [/quote] Because you ears are what counts, not your eyes, its sound engineering, not photoshop. No one has yet managed to produce a UI for souind engineering that doesnt kid your brain about the actual sound that is produced, because we are vision-centric animals. [quote name='silddx' timestamp='1331538154' post='1574200'] There is also the point that most people don't know much at all about EQ and frequencies' characteristics. You only have to ask on here what a certain bass sounds like to get answers full of adjectives, not frequency information. Your amplifiers use these same type of descriptions for their EQs. [/quote] Then they will be no better off for allowing a device to give them a cookie cutter solution to their live sound You need to know the basics to drive a car, you need mor eknowledge to drive it well. If you get into problems you need even more knowledge to get out of the s*** quickly. Clever gadgets in cars make people learn less about driving well, and there is an argument that they endanger as much as protect, since when you do lose it you are going so fast you have no chance of getting it back, regardless of skill. [quote name='silddx' timestamp='1331538154' post='1574200'] Yes, the StageScape interface seems a bit 'dumbed down' to many of us perhaps, but that's because we are naturally disposed to acquiring specialised skills and feeling clever, and not trusting people who can only describe a sound as 'dark' when you can describe it in frequencies. Just like a 'real' musician knows note names and can read notation. But the end result is usually the same and only other musicians care about what's going on under the bonnet. Is your mobile phone a 'dumbed down' interface because you don't have to remember everyone's number anymore, just their name? [/quote] No its because you need the proper skills to do the job right. Remembering a name vs a number is not an equivalent skillset to live engineering mate. In Interface terms its often an adequate replacement. Of course if you forget the name you're screwed. I've lost count how many times I've seen people struggle to remember how to add a new contact on their phone. Inadequate interface? Well yes, but if they just knew the number it would be irrelevant wouldnt it... [quote name='silddx' timestamp='1331538154' post='1574200'] I think for what I believe the target market is for StageScape, it could be revolutionary. If we open our minds a bit and not judge it harshly before we know what it's like to use or how it sounds compared to the usual physical interface desks. [/quote] Cant wait, dumbing down user interfaces works so well IME. Dumbing down complex skills into simple ideas is fine until that device runs into its preprogrammed boundaries dow n the Dog and Duck cos their room layout renders it unable to provide enough lead vocal in the monitor without feedback The number of people in bands with 6K to blow on this kit cant be that many,m and they would all, ALL do better to buy normal PA kit and go on a course on FOH sound IMO.

[quote name='silddx' timestamp='1331484084' post='1573493'] Please expand on this. My bass and guitar sounds fabulous on my POD X3 LIVE. I defy ANYONE to be able to tell me, with evidence, that my sounds are not GOOD. [b][i]Of course there are plenty of people who don't know how to programme good patches, just like there are people who can't set up their amp and bass and pedals to get a nice tone.[/i][/b] [/quote] Exactly. There are plenty of people who dont understand EQ/Compression/Mic placement/Additive FX etc, and that PA device will rendered utterly uselss merely by poor mic placement. If I saw a band using one and they sounded remotely good I would be looking for the engineer in the band, because that bit of kit isnt going to solve all the issues on its own IMO. I've used other devices that 'help' with live sound (dbx LiveRack springs to mind) and believe me they all need an engineers brain to get the most out of them, none of them are very good on their own. Personally I prefer to use decent individual tools and some skill to control whats going on FOH...

Was excellent, well done to the lot of you, great gig! The felines were very well behaved too (once I made it clear that my shoe laces were not for their amusement)

The girl in the MJ track was oversouling her brains out. Bad choice of track, MJ pretty much cant be beaten at his own game, reinterpreting it just sounds lame in comparison, esp when done with overzealous vocal hystrionics.... I couldnt listen past him coming in if I'm honest!

Jesus they destroyed the MJ track didnt they.... Cant listen to any more, it hurts. Nice job getting the bass chair though mate!

Exactly. If all monitors are so flat, they must all sound identical, and their output must be measurably identical. This is not even close to the case IME. The best of the best of HiFi tend toward flatness so as not to flatter any area more than any other (after all you cant tell what will be played back on them) so as to sound equally good with whatever you put through them. A lot of cheap hifi sounds very flawed in some area or other of the frequency spectrum. But cheap monitors suffer by equal margins IME.....

Must be down to the monitors!

Wow, I amd definitely going to find an excuse to come up to have a nose about when you're done mate, that looks awesome!

You had better go and tell Abbey Road then, silly them, what would they know Its as much about quality of components and testing when you get into that league. ALLL speakers are innaccurate. 'Monitors' are just supposedly flatter. You get up to the top of the B&W range and they will give as revealing an insight as any monitor out there. Personally I'd love to have a set of [url="http://www.pmc-speakers.com/products/professional/active/bb5-a"]PMC BB5-a[/url]'s but I'd need to win the lottery I'm afraid....

Top of the line 'hi-fi' speakers (ie B&W) are used as monitors in the [url="http://www.bowers-wilkins.com/Discover/Discover/About_Bowers_&_Wilkins/Abbey-Road.html"]very best of studios[/url], so using top of the range headphones (ie Grado) for headphone monitoring isnt a problem IMO. However, do do yourself a favour and get a copy of [url="http://112db.com/redline/monitor/"]this vst[/url] or an equivalent that mimics the blending of right channel(speaker) to left ear and vice versa that you get in a speaker monitoring situation. It really helps get your panning right and gives you a much better idea as to how your mix will translate onto speakers generally.

[quote name='coasterbass' timestamp='1331036081' post='1566571'] 24 tracks. A 2.5hr long gig. 6 vocal mics 2 ambient tracks. Never mixed anything before Should have it done by tomorrow.... [/quote] Not if you're doing it right

Thats superb, exceptional recording too, who did the audio, what was used etc etc - dons lab coat for in depth and nerdy reply (hopefully)....

Save me a space on the sofa skipper!

Have a couple of £6k mics to play with as well....

You definitely SHOULD set the system to run at the same rate and bit depth as the original files. You do not want to load the system any more than necessary and its having to downgrade the sample rate and bit depth to output for no good reason (assuming your soundcard can handle that bit depth). 24 bit is absolutely required for getting the best out of a digital system when recording (esp drums etc), since it gives you massive headroom, so you can give far more room for peaks at the top end of the volume range. Downgrading to 16bit on the fly is definitely not lowering system load. Just lowering the quality you are hearing.

Yup, lovely mic mate, enjoy it!

A Neumann M147 is a long long long way away from cheap in anyones book.... The reason I keep banging on about Heil is that they are not old school dymaincs, they use very high powered low weight neodymium magnets, and have an extrememly extended freq response as a result. They are designed primarily as broadcast mics (so very very good on voice), yet are extremely robust (so good on kick drums, guitar cabs etc). They are the best all rounders I've found yet. Honestly....

Rhode NT5 on hats on the cheap.... For a real all rounder that is like an SM57/58 but better (ie wioder frequency range) a Heil PR 22, if you can stretch to it a PR30. Both will give you a better general purpose mic than a 57, the PR30 will give a lot of large diaphragm condensors a good run for their money. If you want one mic to do pretty much anything well then the PR40 is a sublime mic in front of a lot of different sources. Not cheap, but a lot cheaper than a great dynamic and a decent LDC togethor...

[quote name='Al Heeley' timestamp='1330990176' post='1566094'] first decent volume practice tonight and i left the pedal on the whole time, I'm quite impressed for the money it really does a decent job at tightening up the sound and the dynamics. I'm really not very experienced at the whole comp/limiter thing but you really can't knock this little pedal for the money. If anyone wants to dip an inexpensive toe into the water of compression then i heartily recommend the £27.50 to Dangleberry on ebay for this. At higher volume settings I found the unit more comp-like since it prolongs the decay of the note whereas a pure limiter, i believe, maintains the decay but just knocks off the peaks. [/quote] LImiter/Comp both will act as a sustain enhancer with a low enough threshold. If that devices threshold is not variable, then the input volume effectively becomes the threshold....

Pleasure mate!