First person to find this

[RadiomanATL]

Did you ever end up getting that and trying it out?

I tried, but my laptop crashed on it. I think I have some soundcard and other issues with it. Not the program's fault. My laptop is a bit old. And I don't really do anything from the house anyway.

Thanks for the link though. When I get another machine in a few months I'm going to give it a go on that one.

Yeah I think it uses a lot of resources. I also think it might crash if the output options for the audio aren't set right to your soundcard, so you might be right about that.

Yeah.

My laptop is pretty much a just play on the internet thing. And my desktop is for the kids (it's even older).

I'm not home much, and my wife is just fine as long as whatever machine we have connects to facebook.

 

[Paulie]

Yeah, acid is much much better for what you're trying to do GT.

Adobe is like a learner's permit. Or if you do what I do it's just fine. For making music though, adobe isn't the right tool for the job.

Put it this way. Adobe = Ford Taurus. Acid = Camaro. ProTools = Ferrari.

hahaha...if Adobe is Ford Taurus, the quantize feature probably broke down a while back anyway Amongst several other features too, I'm sure.

It has a very non-user friendly version of it, if I remember correctly. For what I do though, I have no need for it.

You mean Audacity and Audition? Yeah, I never used either of them. But I know it used to be Cool Edit Pro back in the day, which I did use.

That was the one editing program that was freeware, I believe. So every home musician tried it at one point or another. It was GREAT for learning the basics of editing, but when you wanted to step it up and get serious it fell short.

 

[RadiomanATL]

hahaha...if Adobe is Ford Taurus, the quantize feature probably broke down a while back anyway Amongst several other features too, I'm sure.

It has a very non-user friendly version of it, if I remember correctly. For what I do though, I have no need for it.

You mean Audacity and Audition? Yeah, I never used either of them. But I know it used to be Cool Edit Pro back in the day, which I did use.

That was the one editing program that was freeware, I believe. So every home musician tried it at one point or another. It was GREAT for learning the basics of editing, but when you wanted to step it up and get serious it fell short.

I used CeP back in the day too. Adobe is definitely better than that, a lot more options. But as CeP stepped it up into Audition, so did every other software maker. Leaving Audition again as the Taurus.

Audacity though, that's like a chevette.

 

[Paulie]

It has a very non-user friendly version of it, if I remember correctly. For what I do though, I have no need for it.

You mean Audacity and Audition? Yeah, I never used either of them. But I know it used to be Cool Edit Pro back in the day, which I did use.

That was the one editing program that was freeware, I believe. So every home musician tried it at one point or another. It was GREAT for learning the basics of editing, but when you wanted to step it up and get serious it fell short.

I used CeP back in the day too. Adobe is definitely better than that, a lot more options. But as CeP stepped it up into Audition, so did every other software maker. Leaving Audition again as the Taurus.

Audacity though, that's like a chevette.

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

 

[RadiomanATL]

You mean Audacity and Audition? Yeah, I never used either of them. But I know it used to be Cool Edit Pro back in the day, which I did use.

That was the one editing program that was freeware, I believe. So every home musician tried it at one point or another. It was GREAT for learning the basics of editing, but when you wanted to step it up and get serious it fell short.

I used CeP back in the day too. Adobe is definitely better than that, a lot more options. But as CeP stepped it up into Audition, so did every other software maker. Leaving Audition again as the Taurus.

Audacity though, that's like a chevette.

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

I found all of the Sonic Foundry (now Sony) products are really good at being user friendly.

I started off on CeP, then moved to Vegas (acid without the in-depth beat mixing options). I loved Vegas. Still do. But then work decided to go to Audition and dump Vegas. I feel ya on the learning everything over again. Pain in the ass. Easily doubled the time it took me to do things for the first 20 hours or so of use.

We have pro-tools here. And I've played with it. But for what I need to do it's like going after a house-fly with a grenade. It has TOO much stuff, and actually slows me down as I have to sort through the options.

 

[Paulie]

I used CeP back in the day too. Adobe is definitely better than that, a lot more options. But as CeP stepped it up into Audition, so did every other software maker. Leaving Audition again as the Taurus.

Audacity though, that's like a chevette.

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

I found all of the Sonic Foundry (now Sony) products are really good at being user friendly.

I started off on CeP, then moved to Vegas (acid without the in-depth beat mixing options). I loved Vegas. Still do. But then work decided to go to Audition and dump Vegas. I feel ya on the learning everything over again. Pain in the ass. Easily doubled the time it took me to do things for the first 20 hours or so of use.

We have pro-tools here. And I've played with it. But for what I need to do it's like going after a house-fly with a grenade. It has TOO much stuff, and actually slows me down as I have to sort through the options.

Yeah that's how I felt about Cubase. I didn't really need all those fancy schmancy options since I was just a novice home producer. Acid loaded all the VST plugins that I liked to use for mixing, and that was good enough for me. Cubase had some complex way of loading and utilizing them, that (like you said) it would just take me way too long to deal with.

A lot of times I needed to make rough mixes on the fly while we were recording, just to get it sounding a little smoother for the artists while they were recording. I had all the presets I used already saved and I could literally do a rough mixdown on a track in like 30 seconds during our recording sessions.

 

[RadiomanATL]

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

I found all of the Sonic Foundry (now Sony) products are really good at being user friendly.

I started off on CeP, then moved to Vegas (acid without the in-depth beat mixing options). I loved Vegas. Still do. But then work decided to go to Audition and dump Vegas. I feel ya on the learning everything over again. Pain in the ass. Easily doubled the time it took me to do things for the first 20 hours or so of use.

We have pro-tools here. And I've played with it. But for what I need to do it's like going after a house-fly with a grenade. It has TOO much stuff, and actually slows me down as I have to sort through the options.

Yeah that's how I felt about Cubase. I didn't really need all those fancy schmancy options since I was just a novice home producer. Acid loaded all the VST plugins that I liked to use for mixing, and that was good enough for me. Cubase had some complex way of loading and utilizing them, that (like you said) it would just take me way too long to deal with.

A lot of times I needed to make rough mixes on the fly while we were recording, just to get it sounding a little smoother for the artists while they were recording. I had all the presets I used already saved and I could literally do a rough mixdown on a track in like 30 seconds during our recording sessions.

 

[RadiomanATL]

GT:

Even though we're talking about all these programs, Audition is still OK for what you are doing. Don't feel that you need to go out and drop big bucks on another program unless you're looking to make money off of your music. The ROI wouldn't be worth it otherwise IMO.

You can still mix everything you need to on Audition. These other programs just make it much easier and you don't have to do so much manually. But if you have the time, manually can be just fine too.

Hell, I remember mixing some music on an old Roland 4 track:

To match tempos, I had to slice out 1/64 of a song every 7.5 seconds. Talk about time consuming.

Now, if you have a way to....ummm....borrow a copy, it's highly recommended. Just don't feel that you have to drop money on a new program.

 

[RadiomanATL]

Oh, that pic is of an 8 track version. I had to work with the 4 track version. Even more outdated than that pic. lol.

 

[RadiomanATL]

Here's what I'm talking about when you max things out:

Notice how the wavform is flat at the top and bottom? The audio hit the max and couldn't go any further. It flattened out. Back it off a bit, and the audio will sound better. You won't lose any punch, but you'll get a better sound. As it is, it's juuuuuust right at the cusp of distortion.

BTW, I lowered it to -3dB for that pic just to show you the flatness. You don't have to lower it that far. -.5dB will do just fine. You just have to make sure that you record it in lower. The goal when you normalize usually is to bring it up, not to bring it down.

The audio should just barely kiss those white lines that are running along the top of the L/R tracks. Bringing it up to -.5dB will achieve that. Bringing it down in order to kiss those white lines is like locking the barn door after the horse has already left. Too late then.

Here it was before I lowered it:

Notice how it's consistently going to the max allowable, above those white lines.

 

[Synthaholic]

I like this one too. Good message:


http://www.youtube.com/watch?v=1wYNFfgrXTI&feature=BF&list=TLJcSDxQuiklw&index=5

Very powerful. Thanks for posting it.

Eminem, like his music, hate his music, like him, hate him, whatever. One thing about him is that he has no hesitation to putting what is going on in his life out there on albums. The good things he's done and the bad things. He doesn't hide it.

The catch-phrase is "keeping it real". I don't think I've ever seen another artist who does it to the degree that this dude does.

Like I said, like his music or not, but no one can ever accuse the man of not being brutally honest, even when it comes to himself.

Lyrical honesty is not a prerequisite to great music.

 

[Synthaholic]

Here's what I'm talking about when you max things out:

Notice how the wavform is flat at the top and bottom? The audio hit the max and couldn't go any further. It flattened out. Back it off a bit, and the audio will sound better. You won't lose any punch, but you'll get a better sound. As it is, it's juuuuuust right at the cusp of distortion.

GT, you want a little more headroom to play with - more like this:

 

[Synthaholic]

I used CeP back in the day too. Adobe is definitely better than that, a lot more options. But as CeP stepped it up into Audition, so did every other software maker. Leaving Audition again as the Taurus.

Audacity though, that's like a chevette.

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

I found all of the Sonic Foundry (now Sony) products are really good at being user friendly.

I started off on CeP, then moved to Vegas (acid without the in-depth beat mixing options). I loved Vegas. Still do. But then work decided to go to Audition and dump Vegas. I feel ya on the learning everything over again. Pain in the ass. Easily doubled the time it took me to do things for the first 20 hours or so of use.

We have pro-tools here. And I've played with it. But for what I need to do it's like going after a house-fly with a grenade. It has TOO much stuff, and actually slows me down as I have to sort through the options.

I couldn't agree more. Digital Performer is a bit like that, also. I find that if you know how to play to begin with, then there is less need to correct it afterward with quantizing, autotune, and all the other tricks that tend to dehumanize a track.

 

[RadiomanATL]

Very powerful. Thanks for posting it.

Eminem, like his music, hate his music, like him, hate him, whatever. One thing about him is that he has no hesitation to putting what is going on in his life out there on albums. The good things he's done and the bad things. He doesn't hide it.

The catch-phrase is "keeping it real". I don't think I've ever seen another artist who does it to the degree that this dude does.

Like I said, like his music or not, but no one can ever accuse the man of not being brutally honest, even when it comes to himself.

Lyrical honesty is not a prerequisite to great music.

Thats why I said "like his music, hate his music".

I am removing his music from the point I am making.

 

[Paulie]

I originally learned on Acid 5, and because of that I just stayed with what I knew. I would try other programs just for shits and giggles, and even though the basic editing options are the same, the interfaces would be different and it would be like I was looking at something from a foreign country. Sometimes the icons for the toolbar buttons would be different and it would just throw me all off.

I tried Cubase for a while, but I just don't deal well with change so I eventually went back to Acid. It sucks too, because Cubase is probably next in line after Pro Tools as far as how the industry would rank editing programs. It's got so much that you can do, but it's just a mind fuck to learn it after you're already so used to another one.

I think Acid is the best because it's powerful, but REALLY user friendly. It's the best of both worlds.

I found all of the Sonic Foundry (now Sony) products are really good at being user friendly.

I started off on CeP, then moved to Vegas (acid without the in-depth beat mixing options). I loved Vegas. Still do. But then work decided to go to Audition and dump Vegas. I feel ya on the learning everything over again. Pain in the ass. Easily doubled the time it took me to do things for the first 20 hours or so of use.

We have pro-tools here. And I've played with it. But for what I need to do it's like going after a house-fly with a grenade. It has TOO much stuff, and actually slows me down as I have to sort through the options.

I couldn't agree more. Digital Performer is a bit like that, also. I find that if you know how to play to begin with, then there is less need to correct it afterward with quantizing, autotune, and all the other tricks that tend to dehumanize a track.

Autotune and quantize are not even remotely related to each other. Autotune is just an effect. Quantize is a tool to perfect timing, which happens to be quite crucial in music production.

There's nothing dehumanizing about getting beat timing perfect. Why would you want to struggle with placing all the tracks during sequencing and mixing?

Live playing is not the same as studio producing. It's fine to be imperfect during a live performance, but with commercial production, perfection is demanded by the industry and consumers, and producers don't want to be bothered with trying to place tracks properly in each individual measure when they can just quantize and duplicate as they go.

It doesn't dehumanize the process the way autotune does. Individual artistry does come into play, and producers and artists decide as they go on how to utilize certain imperfections as part of the whole song.

 

[G.T.]

Here's what I'm talking about when you max things out:

Notice how the wavform is flat at the top and bottom? The audio hit the max and couldn't go any further. It flattened out. Back it off a bit, and the audio will sound better. You won't lose any punch, but you'll get a better sound. As it is, it's juuuuuust right at the cusp of distortion.

BTW, I lowered it to -3dB for that pic just to show you the flatness. You don't have to lower it that far. -.5dB will do just fine. You just have to make sure that you record it in lower. The goal when you normalize usually is to bring it up, not to bring it down.

The audio should just barely kiss those white lines that are running along the top of the L/R tracks. Bringing it up to -.5dB will achieve that. Bringing it down in order to kiss those white lines is like locking the barn door after the horse has already left. Too late then.

Here it was before I lowered it:

Notice how it's consistently going to the max allowable, above those white lines.

I really appreciate the tips man. I basically ignored all of this before.

 

[RadiomanATL]

Here's what I'm talking about when you max things out:

Notice how the wavform is flat at the top and bottom? The audio hit the max and couldn't go any further. It flattened out. Back it off a bit, and the audio will sound better. You won't lose any punch, but you'll get a better sound. As it is, it's juuuuuust right at the cusp of distortion.

BTW, I lowered it to -3dB for that pic just to show you the flatness. You don't have to lower it that far. -.5dB will do just fine. You just have to make sure that you record it in lower. The goal when you normalize usually is to bring it up, not to bring it down.

The audio should just barely kiss those white lines that are running along the top of the L/R tracks. Bringing it up to -.5dB will achieve that. Bringing it down in order to kiss those white lines is like locking the barn door after the horse has already left. Too late then.

Here it was before I lowered it:

Notice how it's consistently going to the max allowable, above those white lines.

I really appreciate the tips man. I basically ignored all of this before.

No problem.

Part of my job consists of paying attention to audio quality. Paulie can help you more on the music mixing end.

 

[G.T.]

Paulie needs to get back in the game. He hears it, in the back of his head, begging him to. "Paulie!~ Your percussion is waiting!! Paulie!~ This track would be great to sample!~Paulie! .............PAULIEEEEEEeeeeee!!!!!!"

 

[Paulie]

My heart is just not in it these days, man.

[/gay comment]

 

[Sheldon]

Eminem is the GOAT of this whole Rap shit. That sort of hurts Pale's little shpeal and all but hey!~

Paulie, the New Llyod Banks drops Monday. Hunger for More II.

#1 was a classic bone cruise album.

GOAT?

Bring it down to an over-analytical nerdy white boy level...

Greatest Of All Time.



Good song, GT. Heaven is my favorite off that album. One of his best.

Did anybody post the instrumental? There's one on youtube, but with no hook vocals.