when it's time, it will come to you

:)

[quote=EmbraceRandom;18299378]those mackies are ok, a good starting point at least!

edit:
regarding the PT9 crossgrade, I don't need anything else do I? I.e., i don't have to buy a new iLok do I, if I've already got one?

Just making sure they haven't produced a new iLok or anything...

Also, besides the auto delay comp, what else am I gaining (as a PTLE8+MPTK2 owner) by crossgrading?[/quote]
They have got a new iLok out. But you don't need it!

I do though, it's so much sexier and holds so many more licenses.

[quote=EmbraceRandom;18300019]:(

I want to [I]want[/I] to get it, kinda seems as though I need someone to persuade me to get it[/quote]
Are you on PC?/Windows 7?

PC with Vista 32-bit Home Premium.

Come on Convec, persuade me!!

edit: man that softube FET is unreal!

[quote=EmbraceRandom;18300710]persuade me!![/quote]

Finding reasons isn't so hard. Whether or not they're persuasive is up to you:


(01) There's no guarantee that they'll offer the upgrade price forever. If you don't take advantage of it now, you might end up footing the full price down the road.

(02) They will likely drop support for version 8 as much as 12 months before they drop support for 9.

(03) You can finally ditch the cornball Digidesign hardware and get something that isn't manufactured based on the fact that the software is actually why people are buying it.

(04) Typically speaking, any outside talent you work with isn't going to be impressed unless you have the latest & greatest versions of everything, so it makes sense to stay current.

(05) You can almost double the number of simultaneous I/O with your new non-cornball hardware, meaning you've got a lot more flexibility with capturing large groups (or multi-miking sources) and also creating different headphone mixes.

(06) You can wander into any random workspace with your iLok and use whatever hardware is available at any given time, which is good if you travel between studio locations or want to do any work on the road.

(07) The fact that you [I]want[/I] to want this is probably just an indication that you actually want this but don't want to admit it.

(08) You can be the cool kid with the brand new bike and make everybody else jealous.

Haha I like how we go from the more salient points to 'you can be the cool kid' :D

Don't get me wrong, I do want it, but that's because I like spending money (that I should really save for food etc) on gear/software. I just had to warrant spending £90.

Fair points though, especially the first two. You may have persuaded me.

PT9, purchased.

You motherfuckers :p

Cool, when should we start rattling off lists of reasons you should buy Cubase?

Haha neveeeeeeerrrr!!!

[QUOTE=Moseph;18300945]Cool, when should we start rattling off lists of reasons you should buy Cubase?[/QUOTE]

eew

sorry but cubase is super gay

reaper is the sex, and there is no reason not to try it since (a) the demo goes for ever and isn't crippled (b) it's dirt cheap

After all that, the motherfuckers have cancelled my order because they refuse to ship out of the states and the UK store doesn't have the PT9 crossgrade :mad:

where did you buy from?

studica.com

i thought id ask this here.
does anyone know a good usb microphone to use when recording my guitar?
i thinking of purchasing one when my job comes through and i was thinking of going like $100 - $150.
anyone have experience recording with usb condenser microphones on their amps?

here's a really good answer:

go to a studio and spend a few hours with someone who knows their shit for 30 bucks an hour

edit: i don't just mean the closest engineer, find out what's got a good rep, you can learn from them too :)

[QUOTE=Xomblies;18301864]here's a really good answer:

go to a studio and spend a few hours with someone who knows their shit for 30 bucks an hour

edit: i don't just mean the closest engineer, find out what's got a good rep, you can learn from them too :)[/QUOTE]

well, i dont have any actual songs or anything.
i just wanna do home demos for little ideas and whatnot, but i still want it to sound somewhat decent.

i'd spend the money on some kind of usb interface for DIing your guitar then. There's some really good amp modeling plugins out there, and you can do a lot more with a DAW/ interface than you can with just a usb mic

edit:

since avid has come out with a new line of mboxen the last gens are WAY cheaper:

[url]http://pro-audio.musiciansfriend.com/product/Digidesign-Mbox-2-Mini-?sku=700498[/url]

so id just get an interface then a shure sm57 or something?
sounds like a good idea, more money spent but i guess it would be a good idea thanks

no problem, there are cheaper interfaces too, but i like digi's clocks better than the others.

just browse around and i'm sure you'll find something that suits you best. And yeah that and a 57 is just about all you'd need, and if you wanna do shit late at night with headphones just Di the guitar and REAMP later

how exactly would i DI my amp anyways
i got a fender hot rod deluxe.
im very noob at this so excuse the lame questions

DI means direct input, you record a completely dry signal as it sounds without going through an amp. You'd still be playing through your amp and would hear it as such but the recorded signal would be completely dry. The purpose of this is so you're free to change the sound you want later via reamping without having to record additional takes.

You'd be using a DI box like this one:
[URL]http://www.countryman.com/store/product.asp?id=52&catid=10[/URL]

Fender Hot Rod's are pretty nice amps, with a 57 and a half decent interface you can get some good tones.

Plus to reamp properly you'll need a reamping box which is more money again. Or a DI that's able to be used in reverse.

Im dragging this thread back from the dead.

When mixing drums, do you guys prefer to have every track peaking as close to 0db as possible?
Im getting my levels for the drums individually before i bus them all to one track and would like some insight into how other people do it.

why would you want your drums on one track

no way, i try to give everything a bit of breathing room away from 0 db. you can always make it louder during mastering, but i always try to mix low and in the green

yes

"mixing in the green" (healthy amount under 0 dB) is absolutely, 100% the way to do it

do not mix orange yellow or red ever under any circumstances

or youll end up like periphery. botting the internet forums trying desperately to get one more fan to put food on your over compressed, poorly arranged table

mix drums on individual tracks, them sum to one stereo track with a comp on it. If you REALLY want to get crazy with it, bust all the drums out of your interface into some kind of summing mixer, analog gear (even a mackie mixer) peaks at +4db where digital peaks at -24 i could be wrong with digital but i KNOW analog is +4db. If you've got any kind of outboard gear, using it before you sum down to the stereo mix will sound drastically different than it's modeled plugin. Reason being is when you hit hard electrical circuits you'll get a drive that the plugins can't replicate. plus processing audio and summing down in analog form does something to the presence of the drums.

yay analog!

yeah i think that's why that periphery album sounds super compressed, bulb must have mastered that shit in the box. the guy who did underoath's define the great line busted out with analog, did a left, center and right channel "printed" two audio tracks and snagged those out of the audio files folder rather than bouncing. you will get louder mixes WITH dynamics if you do it that way

EDIT: forgot to mention, if you have good converters getting a good master is easier as well... you could essentially smash your input as clipping and it'll act as a limiter... if that makes sense. Something like an apogee duet with their self proclaimed "soft limiters" might help achieve maximal loudaucity