Compuphonic

Sounds interesting... pm me.

You can download the guide and the Ozone demo from here:

http://www.izotope.com/products/audio/ozone/guides.html

If anybody is interested in purchasing the plug in give me a shout I can get better rates than the price on the site..

Anyone got a contact number for Mike Diguid (think thats how u spell it) regards mastering?

Also/if not is there anyone that u can recommend for mastering?

Cheers

Steve

Mike D is a member of the site, but haven't seen him post for a while.

How many tracks are you looking to have mastered ?

Send me one track and I'll master it for free...

Hey Hog..

That CD should be on its way to you...

Depends did you mean Cubase or Cubase SX ?

Most common versions available are:

Cubase 5 VST

Cubase SX1

Cubase SX2

Cubase SX3

The SX version is the completly revised rewritten version that appeared about 3 years ago.

Its one of the 'big 3' DAW packages along with Logic and Protools.

Probably more complex than you need.. although you might want to have a look at Cubasis which is a cut down version for about 80 but will still have the features you need.

I wouldn't recommend Ableton for the sort of stuff I think you want to do.

The dongle is the copy protection key - on older versions of Cubase it goes in the parallel port, more recent versions are USB

There are plenty of books and DVDs available for Cubase very cheaply on eBay - just make sure you get ones that match the correct version you are running

Is it the OEM or the boxed version ?

what does the d stand for in dco? is it digital?

Yes, although there are a number of different digital methods that are commonly used - most common being some sort of microprocessor control.

VCO = voltage controlled osc, usually using some sort of discreet or opamp based feedback loop to generate

You could also try Kenton Electronics' date=' they used to retrofit modifications to your kind of synth. They may be able to service it for you.

[url']http://www.kentonuk.com

The guys at Kenton don't do repairs.

There is a good chance the problem you are having is simply down to a faulty pot.

Looking at the schematic the pot is the only common component before the 301 Opamp, and likely if the Opamp had a problem you would get no sound at all.

Although I'm slightly puzzled as the post below says the SX-1000 has a single DCO and the schematic posted looks like a VCO so maybe thats the wrong schematic ?

Think the place in Torry you mean is Awakening Restoration ?

Fantastic... lol takes 3hrs 5mins to get there and 1hr 15mins to get back... thats serious motoring in a bus..

Otto would be proud of that one ;-)

Basically the ethos behind MP3 was file size rather than audio quailty, as its a 'lossy' file format information is discarded in the encoding process.

As an aside burning MP3 to CD as audio files and re-importing won't bring back the missing bits.. repeat the process a few times and things go very horribly wrong..

To answer your question the higher the bit rate the less info is discarded and the better the audio quality - but your files get bigger so the point that you might as well have stuck with AIFF or WAV

Variable rate helps as it adapts the encoding to suit the density of the music signal, so rather than having one constant rate throught the entire track the rate adapts to suit, so the file sizes are typically smaller than the equivalent fixed rate.

Finally the MP3 algorithms are optimised for particular types of music, certain sounds or frequencies don't always work well with certain encoders so it is worth trying a few until you find one that suits your ear.

What does suffed mean?

Why would Graeme's previous employment affect something that happened three years after they were signed?

The only label rivals that effected Pallas while signed to EMI were Marillion.

In the years that I was professionaly involved with Pallas Talk Talk were never mentioned.

Sorry that word was meant to be stuffed.. thats what happens when I post while on the train..

I thought Graeme was still working as a lawyer in some capacity when the Wedge was released ?

I remember going to the album launch in Virgin records - that used to be next to the music hall - think its now the P&J shop - and he turned up in a suit cause he'd been with a client.

Talk Talk and Pallas were siigned on the same label at the same time. Had the marketing budget been spent on Pallas instead of Talk Talk maybe things would be different (for a few years)

If the idea of trying your hand at some dance/electro/electronica/pop material purely as a recording project initially then give me a shout.

Tracks waiting and recording facilities available

If your good, a live set will follow...

It is nothing more than hype. I think "the industry" is desperate to cultivate an image of being intouch with the "internet generation" and people like the artic monkeys and the test icicles are their PR babies. The music industry behemoths are always going to find a way to adapt to new mediums and these 2 bands are prime examples. It's a con.

mmm... me thinks you give the 'industry' (and by that I mean the majors) way too much credit - they really haven't a clue at the moment.

A good example of this is the fact that the CEO of HMV resigned last week because of the devasting Christmas results - a huge swathe of their business has gone this year to internet retailers considerably more than they predicted. Agreed HMV are not the music industry but they are a very good barometer to the state of the retail music industry in the UK, and one of the main outlets for the material punted by the majors.

A second example is how some of the majors are quibbling with Mr Jobs or how much they want tracks to sell for in iTunes. They're strangling their own golden goose, iTunes sells over 1 million tracks per day and climbing rapidly, to me this shows just how lost the majors are.

The Byre speaks a lot of sense, its just laced in that cynicism that seems to hit you post 30 ;-)

Yes Pallas got a deal with Graeme still working as a lawyer, but maybe that then explains why The Wedge was then suffed in favour of Talk Talk their label rivals. Proving once again that being signed is far from making it...

Oh and getting back to the topic of this thread - buy that book its invaluable and certainly worth 40 - the only references I've seen better than this are pro industry ones costing several hundred. I bought mine last year, and just away to order this years...

mmm.... a few comments...

The Roland TR-303 is NOT good for bass sounds. That was its original purpose in life and it missed the mark by a long way, hence why they ended up in the bargain bins in the mid-80s

303's are THE sound if your making 'aceeeeeed' or psy trance, definately not acid jazz or ambient. A fun bit of kit but not what you need here..

It was a Korg MS-10 that R&B had for a while, it was just priced to make you think it was a MS-20

The Novation Bass station keyboard is ok, its a DCO based synth with fairly basic filters, it doesn't really sound anything like a 303 honestly.. (but that might be good for you). You might find a Korg Poly-800 better value, or a Roland Sh-101 more fun. The Bass Stations were a little overhyped as they hit the market just after the 303 was peaking in price and popularity, with the promise of being something they're not...

If you want something that will do the basses and the ambient sounds a s/h Korg Wavestation will do the business..

Whats your keyboard player already using ? You might be able to use a remote midi controller with a suitably mapped patch on his existing kit.

Not the cheapest but the Byre can do demo deals I think. They have really decent equipment. Element are hoping to record there real soon.

There's also the method Element tried recently recording bass and drums at Tom's and the rest elsewhere...

Definately follow the built in tutorials they teach you the basics.

PC Publishing have a couple of books released in the last month or so on using Ableton so worth checking out.

The manual is very readable, its been installed in my bathroom for some time..

Ableton is a very hands on program, and I have to admit everybody I know who is using it uses it in a completely different manner.

BTW my company are Ableton resellers and can get good pricing on it if anybody is looking.

I've still got a whole bunch of ticket stubs from 80's stuff at the Capitol and The Venue..

I've been keeping them all this time for... err.. a thread like this.. ??

How about Radiohead at King Tuts in Glasgow - they were support for the support band at Carter USM at the Barrowlands.. only 7 of us in the audience... guess nobody thought much of them..lol..

I stopped collecting the stubs when they stopped being interesting.. now they're just white bits of card with smudgy txt.. so much for progress....

Biz.. that Lee Scratch Perry gig I see you have a stub for was the best gig I've ever been to in Aberdeen

at a guess' date=' i suppose somebody figured that musos are too fuckwitted not to have ground loops at different potentials.... so optoisolating everything negates problems associated with differing grounds ie noise biases etc...if you think about it any ac/dc device may have a floating ground/ grounded 0volts or some arbitrary ground....strap 'em all together via the serial data bus and a whole heap of nonsense can occur.... also bear in mind that midi has been around since the early 70's so i guess it made a lot f sense to optocouple...

i've got a book somewhere about all this shit...if i dig it out i'll see if there is any explaination justifying this feature..[/quote']

Optocouplers are a requirement of the midi spec. Best ask Dave Smith why he designed them there, but they make a lot of sense to me.

Midi has been around since the early '80s - think it was 1982 if I remember correctly.

As for USB to midi interfaces there are several on the market. Turnkey were selling off Emagic ones for 20 recently, MOTU have several as do to the other names already mentioned in this thread.

Yamaha GX-1

Moog Modular system

Roland Jupiter-6, and SH-7

Some top quality cables

if you give us some examples of tracks that use the types of sounds you like and a budget I can give you some suggestions.

As good s/h general purpose synth, a Korg M1 can be picked up on ebay these days for about 150 or so and lots of patches are available free online.

Overall its pretty good. The quality of the recordings are generally good, and the delivery and definition is clear.

Two things I didn't like:

Felt it lacked attitude - musically and in the delivery of the vocals - I was expecting something with a bit more edge and a bit more grit to the beats.

I really had a problem with the strong accents, and I realise I'll get shot down for this, but it sounded too like the Proclaimers MC'ing

I'd be interested to hear the EP when its available

PM me with more info on how you work and what your looking to do...

Yes I can at least offer you some advice.

My company has some experience of Actinic and osCommerce deployments.

PM me if you want my phone number.

Looking for a couple of tickets for this coming Sunday night.

PM me if you can help.

Cheers

Thats all very well but' date=' who do people think they are assuming that they can take a musical creation lovingly conceived and produced by musicians, and in some way make it better? Has it never occured to you that the bands on here who have produced music and gone to the bother of multi track recording it dont want someone else dicking with it.

The other problem is that the majority of recordings made by bands on here will be live, or in part live, so no use to a re-mixer.

[/quote']

I certainly didn't say that remixing a tune would make it better - just that it might better the band being remixed.

Ever since remixing became common place in the 80s the record companies have been more than keen to promote this cash cow - remixing potentially increases a bands available output and often is targeted at a different area of the market increasing the likelyhood of attracting fans who would not normally consider the original artist. There are many commercial tracks that have been much more successful as a remix which in turn has led retrospectively to massivly enhanced interest in the original artist.

I'm not sure where all the hostility to the term 'remixing' comes from on this forum - if a guitar band record a demo and decide to go back because they wanted to add another guitar part, thats a remix - is that 'dicking' with their 'lovingly crafted piece of art' or enhancing it ? Some listeners would prefer the original version and some the new version with two guitar parts, which is better ? Impossible to say, but it has increased the appeal of the track.

From an up and coming bands perspective, there is a growing trend amoungst A&R to see the band explore remixing especially when it has the potential to increase the buying audience, it shows the band have commercial savvy and potentially a better investment.

BTW having tracks that are live or partly live is not a problem, by this are you suggesting that the musicians cannot play in time ? The software tools are more than capable of dealing with an drift and you can either 'fix' the timing or have the sequencer follow the recorded timing.