It just cracks me up....

[baldguy]

I don't think I've posted here in the last six months, but damnit...I can't let Bruce and Ed be attacked like this. I got their collective back.

You've got to keep in mind that damn near every major label release that you hear was tracked on 2" tape....not 1/4". There's a reason for that.

And I hate to say it but Ed is right (again).

BTW...I'm all digital. And everything I've done in the last six months sucks.

 

[participant]

We all agree on one thing? "If it sounds good, it is good"... seems any argument for/against analog/digital is meaningless if you believe that.

While I'm 95% more like mixmkr & chessrock in practice... Ed's point that many people really DON'T KNOW what sounds good is important... well... important if anyone cares about making/recording good music.

IMHO mixmkr (& possibly Keith) knows what sounds good. Still "whatever works", right? (hopefully from here the thread won't break down into any serious dick-waving )

(Of all these guys, mix is probably the man I'd like to meet in person the most someday -- "pro" or not He's like a pissed off, 40-something me )

 

[volltreffer]

What I consider the most ridiculous thing in this thread is the fact that the topic starter talks about porta studios and their "I suck though I'm analog sound" and INSTANTANEOUSLY there are responses about Neves a.s.o.

Don't you ever read the threads you reply to? Some of you remind me of that old 'eliza' program. It also might have read 'analogue' and just answered with 'Neve'...

Anyone who thinks that a porta 05 would go up to the 100k should rethink of what he's posting. And I think that lots of the cheapass analogue CAN be achieved with simulation by compression...

But maybe I'm only a blockhead

aXel

 

[chessrock]

He's like a pissed off, 40-something me )[/size]

LMAO! ! Sometimes, I think Ed is the pissed-off, 40-something me. Or maybe I'm just the less-talented and experienced him. We do both kinda' seem to have a way of hopping on the proverbial soap box from time to time, I've noticed. And we both stir up our fair share of shit. He's a little funnier, but I'd bet money I'm a lot better-looking.

 

[mixmkr]

but I'd bet money I'm a lot better-looking.

pics?

and will you use a regular camera VS a digital one so you look all warm and fuzzy?

 

[mixmkr]

(Of all these guys, mix is probably the man I'd like to meet in person the most someday -- "pro" or not He's like a pissed off, 40-something me )

naw...I don't wanna meet you though...

you're like a wanker 20-something not me

 

[nwsoundman]

Yawn

I know folks out there that could that could do more with a porta studio than an average project studio with ADATS. And I know guys with Da-88's than can give some enginers with 2" tapes a run for their jobs. Its all about the engineers ability to track and mix. Ive been proven wrong too many times by people who knew more than me with less than pro equipment.
Lets nurture the newbies instead of being somewhat condesending or even snooty at times. Try to word things as such to encourage the portstudio guys to keep learning and experimenting. Maybe they will upgrade to a mackie someday.

That is the best bit in this entire thread. Well maybe except for the Mackie part?

Kirk

 

[pipelineaudio]

You need some harder questions, Ed's gonna knock those right off.

see how I do:

"1. Have you ever patched an Arp 2600? "

I've recorded avatars before, is that an ARP ?

"2. Can you tell me the difference between the 2500 and 2600 as far as patching? "

not so sure what synth knowledge has to do with this, tho I could be wrong about the ARP you're talking about being a synth

"3. Have you ever recorded a Minimoog? "

I wish...I've seen one in New York, while I was modding a Neve 8108 ( dont kill me, the 8108's what the guy wanted and it DID have a cool new bussing system! )

4. Have you ever aligned a 2" multitrack?

Yes, at the beginning of every session that was using analog, and then wrote down any deviations at the end, the very day the tape was to go to mastering

"5. Have you ever switched headstacks on a multitrack? "

Many many, made some money during the 90's changing Studer 827 16 tracks to 24 track. Also replaced a lot of things with JRF headstacks, also set up the 2" 8 track headstack for crazy Jazz nuts

"6. Have you ever sync'd two analog multi's together? "

Too many times to remember, also synched analog to Pro_Digi and DASH recorders as well as all the MDM's, and/or had em chase computers. This is no big deal and I suspect the tech crazy new generation would have even less trouble with this than we did, so what

"7. Can you tell me the freq. of a slate tone and where it might be found on a "real" board? "

the frequency of the slate tone, is however high you decide to talk, trick question. Though theres usually a 740/1khz tone for audio hanging out too. Youll find it in the oscillator section, and usually another switch by the talkback module

"8. Can you tell me how an 1176 physically hooks up? "

OIld ones were on terminal strips, new ones have terminal strips and XLR's

"9. Have you ever used more than 2 1176's at once? "

Lucky for me I had an 1178, so no need, but Ive linked em before
"10. Have you ever used a C12?...and experimented with the polar patterns? "

Had 3 C-12's REAL ones, in the threads about how I M/S mic the overheads elsewhere on the BBS the C-12's were the mics of choice, but failing that 414's

"12. Who makes a 666 mic? "

EV

theres more than a few pros who hang on this BBS no need to get snooty like when you called me out on thedrum recording stuff

 

[chessrock]

. . . will you use a regular camera VS a digital one so you look all warm and fuzzy?

I was thinking of going digital, so I could have the data converted to 1/8" tape. I figure that way all the data comprizing my mug will sound a lot better as it loads on to my Trash-80 computer(those bleeps and blips and "ssshhhhh" stuff will sound warmer, I suppose). It might take a while to load, though, and I might need something more than a 120 minute cassette.

 

[mixmkr]

You need some harder questions, Ed's gonna knock those right off.
well...I DID say that they were probably easy...especially for someone involved in the business...but still, I thought "fun" questions to ask.
see how I do:

"1. Have you ever patched an Arp 2600? "

I've recorded avatars before, is that an ARP ? yeah..that's the guitar version of the Odyssee...but my question was in patching a 2600. If you are analog synth dumb-ass, you will probably have a tough time to even just get it to make ANY sound...hence my question...and it's analog....so to speak

"2. Can you tell me the difference between the 2500 and 2600 as far as patching? "

not so sure what synth knowledge has to do with this, tho I could be wrong about the ARP you're talking about being a synth
..the reason I asked was just inquiring about possible exposure to very popular and top end synths of the era. The 2500, Arps top end, had a very unique patching system, VS the cabling with the 2600
"3. Have you ever recorded a Minimoog? "

I wish...I've seen one in New York, while I was modding a Neve 8108 ( dont kill me, the 8108's what the guy wanted and it DID have a cool new bussing system! )
...just another useless "era" synth question... basically the main staple of a synth in its time...like the DX7, I suppose. I believe they are being made again also
4. Have you ever aligned a 2" multitrack?

Yes, at the beginning of every session that was using analog, and then wrote down any deviations at the end, the very day the tape was to go to mastering
excellent!!!
"5. Have you ever switched headstacks on a multitrack? "

Many many, made some money during the 90's changing Studer 827 16 tracks to 24 track. Also replaced a lot of things with JRF headstacks, also set up the 2" 8 track headstack for crazy Jazz nuts

"6. Have you ever sync'd two analog multi's together? "

Too many times to remember, also synched analog to Pro_Digi and DASH recorders as well as all the MDM's, and/or had em chase computers. This is no big deal and I suspect the tech crazy new generation would have even less trouble with this than we did, so what
"so what"....it just shows maybe the "actual" knowledge one might have of the infamous analog beasts that are so superior...eh? hence my above 2 questions
"7. Can you tell me the freq. of a slate tone and where it might be found on a "real" board? "

the frequency of the slate tone, is however high you decide to talk, trick question. Though theres usually a 740/1khz tone for audio hanging out too. Youll find it in the oscillator section, and usually another switch by the talkback module I suppose kinda a trick question...but not really... but the slate tone I was inferring to was the one that went to tape to hear the areas between songs, etc....the lo freq, usually associated with the talkback

"8. Can you tell me how an 1176 physically hooks up? "

OIld ones were on terminal strips, new ones have terminal strips and XLR's
...yeah an easy one I suppose, but thought it was a goodin'. If you have never seen one, you would probably never guess the correct answer... good job on your answer
"9. Have you ever used more than 2 1176's at once? "

Lucky for me I had an 1178, so no need, but Ive linked em before
...not sure why I asked this... just figured a "decent" studio would have at least two...
10. Have you ever used a C12?...and experimented with the polar patterns? "

Had 3 C-12's REAL ones, in the threads about how I M/S mic the overheads elsewhere on the BBS the C-12's were the mics of choice, but failing that 414's
..same reason as number 9 I suppose ...
"12. Who makes a 666 mic? "

EV
again...good answer on an older but durable mic. I guess then to take this further, do you remember how they used to advertise the "durability" of this mic?
theres more than a few pros who hang on this BBS no need to get snooty like when you called me out on thedrum recording stuff my point exactly...there ARE more than a few pros who hang out here, but it seems there are a few select, who only think they are in this group..which is quite ok with me.. as the title of this thread states; "It just cracks me up!!!"

so...great on the recording answers...go bone up on your synth knowledge!!! ha!...like knowing about dinosaur synths will help much at this point. But, if you've seen 'em, you've probably been involved in some fine music. I just was coming with questions off the top of my head, and I thought these were "decent enough" questions..

oh...I don't remember calling you out on drum recording stuff, but if I did it in an inappropriate way, my apologies... so...do your drums sounds suck??!!

 

[chessrock]

I think Participant was right, Mix.

You do sound like you're pissed off. Do you need a friend to talk to? I'm always here!

 

[mixmkr]

yeah...you're right. This internet BBS stuff is toooo stressfull. pisses me off..

someone gimme a 666 mic. I wanna drive a nail in Chessrock's head in with it.

no smiley faces from me, Mr. fancy pants.

I'm pissed now

 

[mixmkr]

gggrrrrrrrrrrrrrrrrrr

 

[jcmm]

Hey mixmkr

How did you get a pic of my neighbors wife for your avatar?

 

[pipelineaudio]

No my drum sounds most definitely do NOT suck, I might have trouble in other places in a mix, but not the drums

mixmkr were not so far apart on this issue for sure...Ed must have had some earth shatteringly bad experiences with digital stuff. To me the difference between analog and digital CAN be the last 2 % of polish, but far more important is whether or not the performance came out (or was edited into ) right, and even more important than that whether or not the feeling passion and energy of the song came out(or was edited) right, and WAY more important than any of those is whether or not the song was any good in the first place.

 

[mixmkr]

No my drum sounds most definitely do NOT suck, I might have trouble in other places in a mix, but not the drums

mixmkr were not so far apart on this issue for sure...Ed must have had some earth shatteringly bad experiences with digital stuff. To me the difference between analog and digital CAN be the last 2 % of polish, but far more important is whether or not the performance came out (or was edited into ) right, and even more important than that whether or not the feeling passion and energy of the song came out(or was edited) right, and WAY more important than any of those is whether or not the song was any good in the first place.

for whatever issue we are talking about now!! ( ), you hit the nail on the head (with a 666 mic )...at least on how I also think about things. How many engineers have you seen that have a stary eyed glazed fixed on the stereo out meters, making sure they are "equal" and hitting "just high enuff"...but haven't a clue about the music they are recording...? (is this a new topic in this thread? )

 

[pipelineaudio]

if I ever saw it I dont remember what they used in the EV ad, WAS it being used as a hammer? maybe someone can find an old scan of it or something

 

[mixmkr]

yes...and too lazy to search and scan...

 

[Meshuggah]

I use the analog ins on my HD24 to get that analog sound.

One more question here, as the can is already opened. Are we talking about more exact reproduction of the source, or a "better sounding" reproduction? To me, that's seems to be the most common problem around all mic- and preampfetischists here: Buying a new mic instead of buying a new snare, tune it, and have it smacked by a real drummer.

If a telecaster sounds harsh out of a Marshall JCM800, I sure don't try to go around it by firing up the 2"

And Ed.. Girls love the sound of 384 samples delay!!

 

[Brahmb]

Wow!

What a downer. I just read through this entire thread on Christmas. There's 30 minutes of my life I'll never get back.

Ignorance is bliss. I don't even know 10% of what you guys are talking about. I come here to ask questions about my equipment which is all digital and cheap (at least I think it is, I'm one of the dumbasses that can't tell what is which). Maybe this is why I seldom receive answers to my threads. Maybe I should stick to the newbie section. Maybe my gear and setup is too insignificant to come to a hobbyist forum and expect that I'll receive answers. Either that, or these experts are too busy reading crap like this thread at its current point.

I am in no way going to steal business from any pro. I am a music teacher in a small rural district who enjoys making practice cd's for his students' use. I also make recordings for people that seem to be of sentimental value- they've paid me enough to cover my expenses for this cheap setup.

I think it's great that pros hang here (if they really do... my paranoid side thinks there are some people here who simply do ALOT of reading and regurgitate it). I just think "shame on them" for snubbing us amatures as they sometimes do. I can tell you, as a teacher, it's no way to motivate a person to better themselves. I have no problem with the original post, but this thread has turned too ugly. Maybe all of this should have headed to the cave long ago.

Later.