PlanetZ forums - scopeusers.com

It's the Feedback Emergency Management Agency.

Mr Arkadin wrote:

niceboy wrote: The mastering without feedback ,is not going to be allowed later.

What, are the feedback police going to be knocking on all our doors to check our mixing techniques?

Nobody expects the Feedback Inquisition!

Why dont you ask yourself like this.
This crap Marshall hangover seems to be your problem.
Marshall was never part of this Marshall help you got in UK,
but you seems to think you know something.
You act like Putin , and we are using a Siberian Pre amp,
and the signal out is ment to go direct on line.
So maybe this Marshall help was not that crap Amplifiers .
Maybe you schould ask Putin to help you pay back the money instead.
Or maybe you schould be a teacher for lefthanded
and force them to write with there right hand,
like they did in Soviet before.
We dont want your Russian crap soundtechnic either.
Bear

niceboy wrote: Why dont you ask yourself like this.
This crap Marshall hangover seems to be your problem.
Marshall was never part of this Marshall help you got in UK,
but you seems to think you know something.
You act like Putin , and we are using a Siberian Pre amp,
and the signal out is ment to go direct on line.
So maybe this Marshall help was not that crap Amplifiers .
Maybe you schould ask Putin to help you pay back the money instead.
Or maybe you schould be a teacher for lefthanded
and force them to write with there right hand,
like they did in Soviet before.
We dont want your Russian crap soundtechnic either.
Bear

What on earth are you even talking about now? This is some funny shit.

Bear,
The problem here is that you're obviously trying to share your feedback technique processes using some very good Scope plugins, which is good, and doing live mix is entirely possible using Scope (I've done it with 20-piece band (real musicians, but no Marshall) - but frankly I can barely distinguish ANY instrument other than the never-stopping-to-breath mid-rangey guitar running over the top of the 'mix'.

So why you take offense (and even respond rudely or condescendingly) when somebody simply asks for clarification on what the heck you're doing is beyond me.

Frankly this 'live mix' is very BAD and hard to listen to.
Sorry, but until you explain what you're doing, and can describe it without stepping on people that ask questions, then you're ultimately just wasting your own time here.

Looking at the waveform in Samplitude shows everything set at center with obvious mid-range biasing.
That's what we're hearing (and seeing).

I'm VERY happy that you're using Scope in such a fashion using feedback that no other system environments seem to be able to do nowadays (and not because its not 1940's Decca), but I just really am not hearing any distinguishing features in the mix (yet) that really showcases any particular advantage to using feedback.

So please understand this.

Simply posting some live drums ONLY using the RMX reverb would help us mere mortals better understand what's going on.

But just 'doing what you want' will just get you what you got -a very mid-rangy guitar-heavy hard-to-listen-to mix!

G

Mr Arkadin wrote:

niceboy wrote: Why dont you ask yourself like this.
This crap Marshall hangover seems to be your problem.
Marshall was never part of this Marshall help you got in UK,
but you seems to think you know something.
You act like Putin , and we are using a Siberian Pre amp,
and the signal out is ment to go direct on line.
So maybe this Marshall help was not that crap Amplifiers .
Maybe you schould ask Putin to help you pay back the money instead.
Or maybe you schould be a teacher for lefthanded
and force them to write with there right hand,
like they did in Soviet before.
We dont want your Russian crap soundtechnic either.
Bear

What on earth are you even talking about now? This is some funny shit.

Yes thats better ,you dont understand you admit.
You can ask Rolling Stones?
I dont have time for this shit.
We where trying to find out here in this Thread why RMX 160 and Vinco M was giving any Sound at all when having already two Vinco in the open routing window.
Gary could not answere so we just moved the STM cables from 1,2,3 to 1,3,5
after restarting the computer we could have sound in 3 Vinco for 3 guitars,
+ start to test the levels with reverbs on drums .
That has to be with all instruments in order to set the FOH drums.
We write contracts for live performances so we dont take shit from you.
The levels on bassdrum is extra important on recordings.
Thats because its impossible to do with some shit technic.?
This Thread was not intended to be about only reverb.
It was intended to get answeres how to load as much as possible.
We are not getting error messages but we are new to Scope,
but not new to online Stereo mixdown .
That is doing mastering live.
So if you want to talk here ,we dont have time for shit.
We want to know everything thats good to know when loading new plugins.
We just expanded it with three plugins and also moved over B2003 from Xite.
If Gary cant answere all Qestions it might be some other here.
So when you understand so little ,can you back off now.
We now can load RMX 160,
And its the best reverb we ever have tested.
I might have to make a new thread because you think its your game.
Its not your game here.
Bear

siriusbliss wrote:Bear,
The problem here is that you're obviously trying to share your feedback technique processes using some very good Scope plugins, which is good, and doing live mix is entirely possible using Scope (I've done it with 20-piece band (real musicians, but no Marshall) - but frankly I can barely distinguish ANY instrument other than the never-stopping-to-breath mid-rangey guitar running over the top of the 'mix'.

So why you take offense (and even respond rudely or condescendingly) when somebody simply asks for clarification on what the heck you're doing is beyond me.

Frankly this 'live mix' is very BAD and hard to listen to.
Sorry, but until you explain what you're doing, and can describe it without stepping on people that ask questions, then you're ultimately just wasting your own time here.

Looking at the waveform in Samplitude shows everything set at center with obvious mid-range biasing.
That's what we're hearing (and seeing).

I'm VERY happy that you're using Scope in such a fashion using feedback that no other system environments seem to be able to do nowadays (and not because its not 1940's Decca), but I just really am not hearing any distinguishing features in the mix (yet) that really showcases any particular advantage to using feedback.

So please understand this.

Simply posting some live drums ONLY using the RMX reverb would help us mere mortals better understand what's going on.

But just 'doing what you want' will just get you what you got -a very mid-rangy guitar-heavy hard-to-listen-to mix!

G

So now we are talking.
Thats good.
We are not sharing
Call it what it is ! usage of freedom of speach.
We can hear by ourselfs and we dont agree about your conclusions.
The soundexample is our business and we dont want your OH thinking.
You can see that we opend the possibility to find out the right way to load more plugins.
That was what the thread was about.
If someone want to play games ,its not our interest.
Our drummer is also our textwriter or poet .
Thats very good thinks our Singer .
Now we have to start a new Thread to ask again.
What is the best way to expand in a 45 dsp setup.
Now its very stable again , but we are just above half of 45 dsp.
For example one time ADAT was silenced when restarting.
Another time it was the whole STM 4896.
When loading direct in the routing window.
Its not a big deal now but something went wrong here.
Bear

Well assuming you've read all the posts on maxing out XITE, its a case of studying the following :

. What will DSP assignment will do for you (if anything). Jimmy knows a lot here. So does Bud. Officially, it's mainly for synth poly though.
. Once you get around 50% DSP, other resources start to max out so don't expect to get way above 60% or 70%
. Around 40% or above, if you have a working project, save it, reboot, then try to add another device. Repeat but save it to a second project file, a third and so on. If the third one bombs out consistantly, go back to the second one known to work. That's your bottom line limit that you know will always load.
. I gather the only 'instrument' you're using is B2003 so no scope for reducing poly on DSP hungry synths. Other synths have to be loaded with poly 1 then gradually increased. You can't always just 'load' them with a preset high poly.
. Its not just the Scope hardware, there may be limitations imposed by the host system as well (PCI bandwidth).

It's all a case of trial and error, I doubt anyone would have experienced exactly the same symptoms you have on the same devices. The limits have to be experimented with by each user with only general guidelines. If a particular device bombs out, does it also bomb out on a clean project ?

Regards PCI, I'm not sure what the nominal limit would be on a 45DSP setup. I do know I can get to 99% on a 12DSP PCI setup, but only 60% on XITE-1D.

dante wrote:Well assuming you've read all the posts on maxing out XITE, its a case of studying the following :

. What will DSP assignment will do for you (if anything). Jimmy knows a lot here. So does Bud. Officially, it's mainly for synth poly though.
. Once you get around 50% DSP, other resources start to max out so don't expect to get way above 60% or 70%
. Around 40% or above, if you have a working project, save it, reboot, then try to add another device. Repeat but save it to a second project file, a third and so on. If the third one bombs out consistantly, go back to the second one known to work. That's your bottom line limit that you know will always load.
. I gather the only 'instrument' you're using is B2003 so no scope for reducing poly on DSP hungry synths. Other synths have to be loaded with poly 1 then gradually increased. You can't always just 'load' them with a preset high poly.
. Its not just the Scope hardware, there may be limitations imposed by the host system as well (PCI bandwidth).

It's all a case of trial and error, I doubt anyone would have experienced exactly the same symptoms you have on the same devices. The limits have to be experimented with by each user with only general guidelines. If a particular device bombs out, does it also bomb out on a clean project ?

Regards PCI, I'm not sure what the nominal limit would be on a 45DSP setup. I do know I can get to 99% on a 12DSP PCI setup, but only 60% on XITE-1D.

Thats a problem also in Xite ok , I am learning.
Is the bandwidth in PCI about RAM or about the Harddisk.,
The CPU is taking its power from the processors in the PCI card I have been told,
but now its also the limit of the RAM ,because the CPU can use only aprox. 99% of the RAM.
Or is this bandwidth limited by how much GB there is on the Harddisk.
I am asking because we have a backup Harddisk on two of our Computers.
For this one we chosed a harddisk on 320 GB.
Thats the one we now have.
The backup harddisk is on 640 GB and is not loaded yet.
If its the usage of 96 KHZ that expand bandwidth its within the Harddisk mainly,
but we havnt tested it yet because we had to use overtime here to find out.
I mean if we use 320 GB Harddisk it would not be many procent used
because we use only Xite and PCI Scope on this Harddisk .
Not any other activities .
Its still going to be doubble usage of Freq avalabel with 96 KHZ so maybe
the application need more space with GB also.
I dont believe we have loaded more than 1% of the smaller Harddisk of 320 GB .
That is not what I think but I have a straight question because I dont think its
about anything of this even though we are going to test 96 KHZ because we use ,
only a thirdpart of all the ADAT we have and it will be only 4 instead of 8 on each ADAT,
but we will get less than 1 ms latency instead of 2.
Thats good but I think it can be all the conections.
If we disconect all devices with their red cables that is transfering also electrical signals.
We then maybe can avoy STM 4896 to die but maybe also your ASIO and the ADAT.
We havnt tried it yet but someone maybe has.
We loaded a completely new one with less than we have know but much.
And it loaded everything but almost all small mixers and Celmos Subbas that we did not
have in the STM 2448 we then where using.
All was dead or sleping I would say because we now can wake up STM mixers.
It takes less time reloading them one by one though.
Also half of the mixer was needed to wake up just by disconecting the red cables,
and replug them.
The plugins direct in the routing window had to be reloaded one by one we tried then.
It is kind of funny though that the more we skip smaller mixers in our PCI
the more stable it gets when loading also extrastuff in the routing window.
I want to know first if someone have tried to load everything without the red cables.
We want to know.Its maybe no difference but maybe it is.
As what we have now it seems PCI is far much better on large projects.
Also we have both bxv2 and STL Transient designer in PCI.
If the Spacf mixers is made for mastering projects also we might need to find out that now.
The Xite will be mainly a mastering platform for us then.
Their free mixer is just great in Xite but takes dsp for 6 STM 4896 in our PCI.
That is not the case in Xite because STM 2448 is taking the same dsp as the cmMix 16-16.
It is unfair to even have it under discussion for PCI then.
Dont answere about the free mixer then .
Their paid for mixers is going to be one Thread of ours in Xite now.
If anyone has any suggestion about the loading trix here in PCI 45 dsp,
we would be thankfull.
One more obviously positive thing here is that to do all what we have moved in from analog setup is needing three large truckloads with analog heavy gear to do exactly the same things.
So if you dont understand my point of view about using Scope and also RME MADI we use.
Waves Multirack that we use in RME going back into Scope is very usefull also.
We skipped their GTR though one year ago now.
Thats where we use one analog tube distortion from Sibiria and also the Back Star we use here.
That is very good.
I want to the guitarist we have here to test Celmos new analog preamp tube.
It is probarbly ment for theire digital distorsions.
We cant do that now because its a big step for us to having them to skip theire crap Amps.
Already worked out conflict within the family so to speak .
Or within the Band thats like a family for us.
Any research result about how to handle Scope PCI is very important for us.
Bear

Your 45DSP will be limited by two main external factors. PCI bandwidth and STDM interconnections.

PCI Bandwidth is related to devices such as reverb and sample players, as these devices use the PCI bus to communicate with the host.

It is more to do with the PCI bandwidth available on your particular host than the RAM or Hard Drive. You can have as much information as you like on your hard drive or your RAM but if the PCI bus cannot transfer it fast enough then you will get errors.

Any more specific info would have to come from someone who has setup similar to yours - eg I'm assuming 3 x Scope Pro. Then comparing thier motherboard model, processor, reverb test etc against yours.

dante wrote:Your 45DSP will be limited by two main external factors. PCI bandwidth and STDM interconnections.

PCI Bandwidth is related to devices such as reverb and sample players, as these devices use the PCI bus to communicate with the host.

It is more to do with the PCI bandwidth available on your particular host than the RAM or Hard Drive. You can have as much information as you like on your hard drive or your RAM but if the PCI bus cannot transfer it fast enough then you will get errors.

Any more specific info would have to come from someone who has setup similar to yours - eg I'm assuming 3 x Scope Pro. Then comparing thier motherboard model, processor, reverb test etc against yours.

Thank you very much for all your help.
We wonder also maybe all five STM conectors maybe schould be with STM bands.
Ralf told me three is good enough , but he is not God
I am not English as first language.
What do you refere to as host .
Is that the motherboard.
They are selling PCI to express card boxes here we could connect to one of our W7 puters,
very strong motherboard , so that is very good info.
Also the red cables transfering also electrical signals.
One is just waiting to have more to do than just M Audio 2626 and recordings.
If they can wake up the STM mixers by disconecting and conect again sending sound,
transfered by electrical signals ,they might need to be disconected when loading new stuff.
That we did when half the mixer worked but the other half was not working.
The mixer was fixed after sending sound signals channel by channel from the channel that was dead.
Bear

You can try more STDM cables but its not definite that will improve your throughput, as (from my understanding) each STDM connection uses extra resources on the DSP and using 3 cables already you may be robbing Peter to pay Paul so to speak. It's trial and error.

I'm running only 1 cable over 3 cards, haven't tried 2 yet but I'm already able to get to 99% DSP utilisation.

dante wrote:You can try more STDM cables but its not definite that will improve your throughput, as (from my understanding) each STDM connection uses extra resources on the DSP and using 3 cables already you may be robbing Peter to pay Paul so to speak. It's trial and error.

I'm running only 1 cable over 3 cards, haven't tried 2 yet but I'm already able to get to 99% DSP utilisation.

I dont know ?
That was RAlf Dressel who sold me two more STM cables when I told him that I got two more 14/15.
Who is that Peter robbing you .
I think the expresscard boxes thats been sold now Ralf told me where used as testing gear
for the cards and they have four slots and more than three schould not be used.
Its good to know though because we have much newer motherboard just waiting to be there.
I dont know if they really is getting the expresscard function or if it just transfering the input.
That would be two Gary questions maybe .
With some tricks our system takes a lot now so we stay in the older motherboard for now.
We can use both wavelab 6 and 7 in the same time using very high latency when mastering.
We do some tricks with Waves L316 on separation with C1 sidechaine also a little phase Eq.
That is on a Vista and in W7 they seem to have this Marshall hangover since the second world war.
The Wave signals is giving good quality when using high sample rate.
and Waves L316 is having very high latency so its no big deal.
This disconection in W7 seems to be in RME two.
RME is also having feedback possibilities but very much more complicated,
so we dont use it yet.
Only there american representative knows why they use Ring Decoupling.
That is used in many different ways when feedback is used.
Its used a lot in America
So we have to stay in Vista because they play with toys also in TDM
They dont have many experts it seems and very many is using very much analog gear,
in order to do what we do.
Its not bad but very much gear to carry .
So in this situation are we now.
Waves having one toymachine too trying to do what bx is doing in TDM.
They are having a big problem though in TDM.
They cant do feedback without all thouse analog preamps.
Thats where we are doing feedback and we will help RME to use it also.
RME can do it with Waves , but you need a whole Rack for each feedback.
Its funny though TDM is still in the analog age in terms of doing feedback,
with more and more Toy Gear .
Its time to have M Audio involved to make something with Sonic Core,
They have two levels M Audio and Avid.
I dont know maybe RME is a better idea.
Bear

dante wrote:You can try more STDM cables but its not definite that will improve your throughput, as (from my understanding) each STDM connection uses extra resources on the DSP and using 3 cables already you may be robbing Peter to pay Paul so to speak. It's trial and error.

I'm running only 1 cable over 3 cards, haven't tried 2 yet but I'm already able to get to 99% DSP utilisation.

I dont know ?
That was RAlf Dressel who sold me two more STM cables when I told him that I got two more 14/15.
He said it shall be three STM band on the first three but now we made it work on 1 , 3 and 5
That is ???
Why is Gary answering support Europe. What is going on here in Europe.
Who is that Peter robbing you
What is this Our drummer is not good enough to put reverb shit.
Dont do any feedback then idiots in the world leading feedback application.
I think the expresscard boxes thats been sold now Ralf told me where used as testing gear
for the cards and they have four slots and more than three schould not be used.
Its good to know though because we have much newer motherboard just waiting to be there.
I dont know if they really is getting the expresscard function or if its just transfering the input.
That would be two Gary questions maybe .
With some tricks our system takes a lot now so we stay in the older motherboard for now.
We can use both wavelab 6 and 7 in the same time using very high latency when mastering.
We do some tricks with Waves L316 on separation with C1 sidechaine also a little phase Eq.
That is on a Vista and in W7 they seem to have this Marshall hangover since the second world war.
The Wave signals is giving good quality when using high sample rate.
and Waves L316 is having very high latency so its no big deal.
This disconection in W7 seems to be in RME to.
RME is also having feedback possibilities but very much more complicated,
so we dont use it yet.
Only theire american representative knows why they use Ring Decoupling.
That is used in many different ways when feedback is used.
Its used a lot in America
So we have to stay in Vista because they play with toys also in TDM
They dont have many experts it seems and very many is using very much analog gear,
in order to do what we do.
Its not bad but very much gear to carry .
So in this situation are we now.
Waves having one toymachine too trying to do what bx is doing in TDM.
They are having a big problem though in TDM.
They cant do feedback without all thouse analog preamps.
Thats why we are doing feedback in Sonic Core and we will help RME to use it also.
RME can do it with Waves , but you need a whole Rack for each feedback.
Its funny though TDM is still in the analog age in terms of doing feedback,
with more and more Toy Gear .
Its time to have M Audio involved to make something with Sonic Core,
They have two levels M Audio and Avid.
I dont know maybe RME is a better idea.
Bear

Apparantly someone tried all 5 STDM cables on 3 x Scope Pro but ended up using 4 only. Looks like 3 or 4 is the optimal for 3 x Scope Pro.

siriusbliss wrote:Bear,
The problem here is that you're obviously trying to share your feedback technique processes using some very good Scope plugins, which is good, and doing live mix is entirely possible using Scope (I've done it with 20-piece band (real musicians, but no Marshall) - but frankly I can barely distinguish ANY instrument other than the never-stopping-to-breath mid-rangey guitar running over the top of the 'mix'.

So why you take offense (and even respond rudely or condescendingly) when somebody simply asks for clarification on what the heck you're doing is beyond me.

Frankly this 'live mix' is very BAD and hard to listen to.
Sorry, but until you explain what you're doing, and can describe it without stepping on people that ask questions, then you're ultimately just wasting your own time here.

Looking at the waveform in Samplitude shows everything set at center with obvious mid-range biasing.
That's what we're hearing (and seeing).

I'm VERY happy that you're using Scope in such a fashion using feedback that no other system environments seem to be able to do nowadays (and not because its not 1940's Decca), but I just really am not hearing any distinguishing features in the mix (yet) that really showcases any particular advantage to using feedback.

So please understand this.

Simply posting some live drums ONLY using the RMX reverb would help us mere mortals better understand what's going on.

But just 'doing what you want' will just get you what you got -a very mid-rangy guitar-heavy hard-to-listen-to mix!

G

I am going to explaine and share now because you got it all wrong here.
Dante is more informed .
We use bx technic for mid and sides so I did not want to panorate the two rythmguitars
at all first when we putted in one more guitar because with only one rytmguitar we could be ,
very much in the middle but with two they have to be mono on each side.
This is in anyway then our live panoration where we have much more subbas coming out
to the sides because of room.
The sides are supersensitive for distortion so have that explanation,
we have to record more here now on schedule.
Take it or leave it in recordings we need 2 month more to find the right cut off on sides
for each song on the bx and also on bassguitar and when panorated ,
the OH need some change later also.
The Organ is to be new and more thought through.
We dont need anyones help with that but you are right we have to prove the feedback with more recordings.
We do that now then .
Here is on sides left one Blackstar and on right the Sibirian tube.
One Sibirian is also on Sologuitar here where I prefere Blackstar because the feedback we do
will make it superfat.
The Sibirian on the right rytmguitar is my favorit rytm though.
Thats what the guitarist want though and not my choice.
Here is a link to Lesson nr 7 in feedback with just this Sologuitar on the link there.
Rythmguitars is having same feedback as the Organ and Sologuitar is having both.
I give you that below also.

http://www.xited.org/viewtopic.php?f=14 ... 9671#p9671

Here is the direct link .

http://soundcloud.com/bjorn-olofsson/br ... ys-demo-17

Here we panorated in 48 KHZ the same mix.
but its very close to selfdistortion on sides and it needs to be that now.
Thats our bxv2 research.
That will go on for some more time here.
We teach you later when we have time where the cut off has to be on bx ,
and also on bassguitar .
Bear

Whenever I use bx2 on master channel (including when doing a 'live' mix), I'm able to get a HUGE sound with good dispersion and separation. Drums pop out of the mix without stepping on bass or guitar. Here it's the other way around.

I guess I'll wait to see how your mix evolves, but for now it's all highly compressed mids and waveform looks maxed out despite relative low volume.

G

siriusbliss wrote:Whenever I use bx2 on master channel (including when doing a 'live' mix), I'm able to get a HUGE sound with good dispersion and separation. Drums pop out of the mix without stepping on bass or guitar. Here it's the other way around.

I guess I'll wait to see how your mix evolves, but for now it's all highly compressed mids and waveform looks maxed out despite relative low volume.

G

You are right we use Waves L316 on the recording raising with preset Basic 2
Live we use Optimaster on preset rock.
If we had normalised it also it would have been more volym but even more
Compressed .
We dont have to use that technic.
The drums is sounding more dark with the Optimaster.
That is right about the drums .
The level is set for live use by our drummer ,
when we got much more bass here.
We use Toontracks and he is going to mix the drums with another
Snare he said here.
This is my choice and the raise in upper mid with Waves L316
we do because its 16 band separation but maybe that preset Basic 2,
is no good.
For recordings feal free to tell me to use three Optimaster
or whatever to do the final touch.
We skipped Waves GTR on guitars because we got Transients on recordings.
and found the Sibirian tube first instead here.
Its analog distortion tubes, so we can skip all Waves exept the C1 sidechaine
for recordings and live we use C6 PA subbas cutoff.
The drums can have both darker mix and another Snare and another bassdrum.
This was your Quick fix you asked for and compression and the raise in upper middle,
from a preset Basic 2 is probarbly just too much.
It is also because L316 is used by so many famous
and look at theire Wave form
but the hard compression ,
and sound strong is something we dont have to use if we find another better trick,
to make it sound strong without upper mid raise that we dont do live.
We dont use bx on the master.
We use it as in Lesson 5 with feedback.
As told from them who builded it.
About having bassdrum pop out.
Thats what we want and is needed for rytm .
That is impossible with just some bx on the master.

Bear

dante wrote:Apparantly someone tried all 5 STDM cables on 3 x Scope Pro but ended up using 4 only. Looks like 3 or 4 is the optimal for 3 x Scope Pro.

Thats great someone is using 4 not one .
Then we might need Ralfs or Garys help with the motherboard or host,
but for now we got three Vinco one RMX160 loaded and you told me this
Peter stealing from Paul is in Xite also.
Thats working and we have a lot working now .
THank you very much.
Bear

I witnessed a lot of 2-track life recording on laptop of rock and metal bands performing in the youth club where I have my job.
Amazingly well recorded and 'mastered' life the recordings are.
The guy who does this is just 22 years young yet he's good already.
He got a internship at famous video artist Kyteman, and that's not by accident then.

You have a long way to go Bear, as the latest mix I just listened to doesn't come close to what's acceptable.
As Siriusbliss says: overly compressed mids, and the drums are powerless thinny.

Planetz homes a lot of experience and knowledge, I would benefit from this craftsmanship as it's even for free
I would concentrate on straight recording, as compression and mastering can be done after it without losing anything.
Hope you get it right tho.

hubird wrote:I witnessed a lot of 2-track life recording on laptop of rock and metal bands performing in the youth club where I have my job.
Amazingly well recorded and 'mastered' life the recordings are.
The guy who does this is just 22 years young yet he's good already.
He got a internship at famous video artist Kyteman, and that's not by accident then.

You have a long way to go Bear, as the latest mix I just listened to doesn't come close to what's acceptable.
As Siriusbliss says: overly compressed mids, and the drums are powerless thinny.

Planetz homes a lot of experience and knowledge, I would benefit from this craftsmanship as it's even for free
I would concentrate on straight recording, as compression and mastering can be done after it without losing anything.
Hope you get it right tho.

Why dont you back off.
Who is paying you to play teacher
We dont want your opinion.
Its some teacher crap with
Marshall again
Our drummer cant play and your Sologuitarist
is better because Your student is good.
Get off my back.
So where is your Bachelors Degree ,
or Masters Degree in soundtechnic from.
I want to ask them why this is going on.
I dont give a shit if you fool young people
with your bullshit technic .
They will find out that you are wrong.
And you think you can fool people about the fact
that bx has left Scope because you never understod,
That it schould be used like we do .
That was just told here and i have to know what.
I now know that you dont know how to use bx.
So thats why I am not going to back off.
We are going to get them back to Scope,
because a lot of people now have seen,
that I've been told the right way of using bx,
by theire own inventor.
So this is about having STL back also.
They might have been a little bit tired of your crap,
So they left Scope.
You obviosly dont understand that some people,
who made this reverb are tired of your crap.
So take that overcompressed crap with Ben Minx.
He is the master of overcompressed TV mix.
The argument is useless .
Go back to your world of lies.
Bear