Studio Setup (or computer setup)

hey I downloaded the HD24 manual and on page 16 there's a big box that says " You can UNDO only edit operations. Recordngs and overdubs can't be undone."

so what if you fuck up an overdub or a punch in?
 
Don't confuse undo with go back and record over your fuck up. There's no difference there what so ever.
 
LemonTree said:
PLUS you won't be limited to recording only 12 tracks at a time if you want to go the 88.2/96 kHz route...which incidentyis only 45 minutes recordin time with the built in
40 gig drive

Am I missing something?
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The hard drives are not built in. They're IDE drives in hot swapable caddies so you can put 180 gig drive in it if you want. And personally, I see no need what so ever for recording at any rate above 44.1kHz so I can get 4 plus hours on a drive, 24 tracks at 24 bits. I have the whole system clocked with a Lucid GenX6 so the converters sound VERY good. If I was doing classical recording the higher sampling rates would be more attractive but with elctric music being mostly what I do, where I'm at is more than sufficiant.
 
Thanks Mike, I was just having a quick scan. I'm thinking this could be the way ahead for me location recording. I also read you can fit almost any make and size of HD in them....up to 2 terrabytes :eek:
 
As long as they keep making old-school IDE hard-drives (i.e. not the new SATA ones), you'll have theoretically unlimited storage potential.

I haven't tried the Mackie equivalents, but the Alesis seems really ace. I was recording through a Spirit Studio 24 - so I was hardly taking full advantage of the HD24 - but the recordings were still very good. Fits in a rack, is really sturdy.

FWIW - You could buy it and use it as a standalone conversion unit for this price, and just buy the cheapest ADAT interface card you can find for your PC!!!
 
Very true. The 2408 I have I bought to use with ADATs as that was the only way to get them in and out of the box. When I upgraded to the HD24 a couple of years later, it all just fit together seamlessly.
Also on your comment on PC compatibility with the 324 cards. I have read comments here about problems but I've installed mine into two different PCs and never had an issue. Hell, my studio computer is a lowly 933MHz P III and runs like a bat outa hell.
 

bigbubba said:
First off, I'm not sure what I want to ask. So bear with me.
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Most questions don't have a correct answer. Not knowing the question means you're half way there already, so that makes things much easier.

bigbubba said:
Once I'm ready, I'll hit record and do that take anywhere from 20 - 500 times. As long as it takes for me to be happy. I'll sometimes like one section of a take, delete the rest and play the rest in another take. If the second recording is on a different day, my AMP settings and volume level will probably be different. But I'll try to hide that in the enchilada of effects that I'll apply. During this process Acid Pro 4 will play all tracks included in the project while recording any noise on the line-in. So I can hear the "band" and record the guitar. I know you all know this but I'm getting to it.
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Track sheets can help to recreate sessions later for overdubs and such. A template showing a drawing of your amp's control panel with all the knob settings drawn in, mic used, placement of mic, placement of the amp in the room, guitar used, pickup selection, the guitar's volume and tone settings, preamp used, amount of gain applied, recording levels, plus any other information about any outboard effects (if used) will help you to recreate the session later. This way you're not stuck with Mexican food if you'd rather have something like (for example) Greek.

Basically, your computer will save all session data (panning, levels, destructive edits, et cetera) once your waveforms get recorded and stored. It's your job to to this regarding the setup before it gets recorded if you want to recreate it later.

bigbubba said:
What the heck, there's so many amps, pre-amps, v-amps, giga-amps, g-string-amps, that I'm get lost thinking about amps alone. Then there's the mics, the mountain of required pre and post this and that. The mic's the line-levels and the mic-levels and the blah blah. Let's not forget the little "insert" or FX output on some amps and mixers, and all the external FX units (rack mountable and other tiny lost-under-the-desk-able units). How does this all work together to give us the "hit me baby one more time"'s?
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Britney will have a number of "body doubles" so that when they're done the commercial shoot or whatever, 9 different blonde chicks with identical clothes will come out and get into 9 different limosines. The limos then all scatter in different directions making it difficult for stalkers to get a good grip on what's happening.

Also, Auto Tune. (YUCK!)

V-amps are best avoided. They're virtually lousy, which gives them a big disadvantage over something genuinely lousy.

The overwhelming puddle of arguably fantastic technology is easier to digest in terms of understanding and aquiring it in small stages. Again, there's more than one limosine.


sl
 
HD24 just for converters?

If you wanted the non-linear editing of a DAW, could you use the HD24 just for the converters? That is, run analog audio in and then just route the optical outs to a DAW, like the MOTU?

Or would it be cheaper/simpler to buy a couple of apogee or alesis A/D converters?

hmm...
 
aoki saburo said:
If you wanted the non-linear editing of a DAW, could you use the HD24 just for the converters? That is, run analog audio in and then just route the optical outs to a DAW, like the MOTU?

Or would it be cheaper/simpler to buy a couple of apogee or alesis A/D converters?

hmm...
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The HD24 converters really are rather good, and so for a bank of 24 of them it's not such a bad price at all. Get a bunch of ADAT optical inputs on your PC, and you're away.

The alternative is something like the Behrigner ADA8000, which is actually alright as long as you don't use the onboard preamps, but if you want something a little more high-grade, the Alesis as an outboard converter is definitely a viable (and economical) option.
 
interesting you would say that...

...Becuase i own an ADA8000, and I do use it for the conversion. Would i avoid the pres by using the line inputs and setting the gain for unity? That would avoid any boost...?

Thanks
 
That's my understanding ... I have only used one in passing and haven't looked at any of the technical info. I reckon if you send a +4 line signal that's at a healthy gain from your preamp into it, you won't get much of the Behringer preamp sound anyway.

If I can find out any more, I will tell you. I just thought of it because it's been discussed on Gearslutz.com that it's a good conversion unit for the money as long as you bypass the pres ......
 
+4 setting

well, there is a place on the gain knob that's labelled +4, so i assume that is where unity gain is from a +4 source.

I think
 
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