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>>> yeah, the file saving thing is too bad - i started doing it manually thinking there was an easier way i'd have to figure out, but it looks like manual is it. haha. but i basically do the same thing as dobro and sikter.

yeah, i don't think i will have any of those issues (e.g., i don't use plug-ins) - i have a M-Audio 24/96 card and AA2 seems to be playing with that fine. though i haven't tried recording multi-track yet. i saw some info elsewhere that explained how to get rid of all the takes you don't want...

thanks sikter. seems to be working ok, and i'm liking AA2 so far - i had a corrupted session in CEP that would play but not mix, and AA2 mixed it no problem. so we're off to a good start!

thanks, good info. the user manual of course does not address this - and it's hard to find anything online about CEP/AA compatibility issues. i suppose it's not something Adobe wants to advertise. do you know if having CEP and AA installed on the same machine causes any problems? i was thinking...

I know, I'm behind the times - but will AA2 read my CEP session files without a problem? Can I expect any trouble in reading any of my old files? Thanks!

in the "how does compression color sound? thread, i argued this exact point, so in that sense we agree. but i argue that compression isn't as absolutely necessary as you seem to think. i use it, and i know how to use it. my main objection to what you have said is your advice that putting a...

albini quotes http://www.mercenary.com/probwitmusby.html good albini interview personally, i think albini's recordings sound perfect much of the time. the idea of sticking a dbx compressor in your chain is not the product of common knowledge amongst engineers in general - only engineers...

all of these factors are dealt with when you check your levels. yes, if you have a bass player that slaps at some moments and plays quiet at others, you need to handle that, but pickups, amps, etc are all factors that affect how you mic the amp and set the levels. like the others, i think you...

you shouldn't rely on compression to stop clipping - good miking and level setting is how you handle that first and foremost. one of the notorious characteristics of the 3630 is its distinct lack of transparency.

yeah, don't use the 3630. the RNC is way better, and better than the dbx compressor too. given the conversion issue though - i would go with a SW compressor. definitely.

yeah, even the early four track stuff sounded really good. low budget, but masterfully done imo.

yeah - good conversation... vocals too - same issue. you get that nice deep vocal tone and it conflicts with the bass and guitar - elliott smith knew this well - i bet his vocal solo tracks are all quite thin on their own (don't know if you're a fan). i'm gonna try the boosting method...makes...

good suggestions. it's interesting how each track can contribute to the whole mix but on their own sound sub par. that's something you can only get a feel for by doing it awhile.... it's counterintuitive at first i think. i've noticed it with drums in particular. the snare sounds great on its...

you're not picking on me, you're right. i understand that there is no selective boosting - i should have said it boosts them relative to the peak signals. perceptually, i think this often has the effect of differentially boosting low amplitude signals (especially at loud volumes), especially if...

yeah, i hear ya. like i said, people are looking for certain sounds - often it is a retro type of sound. i'm more in the albini camp myself - i want things to sound present, crisp, and clear. if the technology of compression helps you get a sound you're looking for, go for it. i would encourage...

i would say that whether or not any compressor leaves a sonic signature depends on how you use it. some might have some kind of "analog" or "tube sound" in the presets, or be good at that, but that's because there's a market for retro/analog sounding recordings. everybody is looking for "added...

compression color some people use compression as an effect, in which case it is noticeable. sometimes i compress the hell out of a clean electric guitar signal and i like it. but the more common use (and proper application) of compression is to even out the audio signal; that is, boost the...

many good suggestions here. i was gonna suggest that you have a mic that is backed off a little bit. you want the levels up AND the singer to be loud. if the screamer is right up in the mic the levels have to be down... i scream into mics from about 3' and that can work well. in terms of mixing...

lossless compression definitely the fastest, close to the largest file size reduction, winamp plug-in, open source Wavpack :D

... personally i'm not into the sample thing unless i am overtly sampling crap, which i do. but for drums, i always prefer a real kit...i also like the challenge of recording real drums, then when i listen to it, i know that it's me...not some plug-in. so, problem solved maybe in some way...