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bitflipper last won the day on March 7

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About bitflipper

  • Birthday 10/02/1951

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  1. I'm wondering about the validity of performing such a test with a YouTube video, given that we know YT never presents audio without modification. Using an oscillator plugin such as MOscillator (one of the freebies in the Melda fee pack) might be more trustworthy. I think we obsess over hearing range because a) it's easily measurable, and b) it's something we all fear losing with age. The question that never gets asked: how much high end do you need to hear in order to create a nice-sounding mix? If your kneejerk response is "as close to 20 KHz as possible", that does not reflect reality. If you listen to MP3s, the upper end has been lopped off (IIRC, at 18 KHz). Same for other lossy compression algorithms. If you listen to FM radio, it's limited to 15 KHz. Your guitar amp likely tops out at around 12 KHz. Hammond organs often occupy the upper end of a mix, but a classic Leslie horn only goes up to about 10 KHz. Truth is, we listen to band-limited audio all the time and rarely notice. The real question is where musical frequencies live. Quick, what's the fundamental frequency of the highest note on a piano? How about a piccolo? Think either one goes above 12 KHz? Think again. Sure, there are overtones that are multiples of the fundamental that can run up into the hearing range of bats. But humans can't hear them. But can you tell when they're not there? Try this experiment. Play the highest note on the highest virtual instrument you have on hand. Pipe organ, for example. Nothing goes higher than a pipe organ, AFAIK. Insert SPAN and note where the fundamental frequency is, and where its harmonics lie. Now add a low-pass filter and start cutting those harmonics until you can distinguish a tonal difference. Find some six-year-olds and repeat the experiment with them. When mixing, by far the most important frequencies are the ones everyone can hear with ease, between ~1KHz and ~5KHz. This is why band-limited speakers have long been used by mix engineers; if it sounds good on speakers that don't go much above 8-10 KHz or below 100 Hz, it'll sound good on a full-range system.
  2. Exactly. "Professional" does not directly imply that you are necessarily good at something, just because someone was willing to pay you to do it. I have been a professional musician, a professional hardware engineer, a professional software engineer, and a professional teacher. In each of those roles, I knew plenty of associates - also professionals - who were flat-out sh*t at their jobs. There were others that I knelt at their feet beseeching them to bestow upon me even a little of their vast knowledge and experience. On the other hand, there's such a thing as the passionate amateur, someone compelled to learn everything they can about the subject of their passion. Such people aren't constrained by the narrow needs of a specific job assignment, but are free to branch out into any related field that piques their interest. I am happy to call myself an amateur mixer, and would be considerably less happy if I had to do it as a (shudder) job.
  3. My first personal computer was an RCA COSMAC VIP. Came with 2KB of RAM (had to design and build my own circuit board to bring it up to 8Kb), no operating system, no keyboard (all data entry via a hex keypad), using audio cassettes for storage. My first serious program was a recreation of Space Invaders, which I played with a home-made controller made from Radio Shack parts. In 1984 I got my first real job in the industry, where they foolishly handed me a roomful of million-dollar superminis to play with. It was there that I learned to code in just about every programming language in existence at the time, ultimately settling on C as my native tongue because it ported perfectly to my Apple ][.
  4. ^^^ + 1 Might have to brush up on my Singlish, though. Yes, that's a recognized language (unlike similar but unofficial hybrid languages such as Spanglish and Taglish).
  5. It was with some sadness that last week I finally contributed my VS-700 T-shirt to the rag pile. At least it was put to one last musical purpose: cleaning up after my granddaughter, who'd just finished spray-painting her guitar as well as the patio table she'd used as a workspace.
  6. Erroneous indeed. Even adding up a half-dozen paid SONAR upgrades, my investment in the DAW has been a drop in the bucket compared to plugins and virtual instruments. And all that's a small amount compared to speakers, interfaces, multiple displays, microphones, acoustic treatments and musical instruments. A free DAW is like a drug dealer offering the first taste for free.
  7. Mine are mounted one over the other, doubling the screen space without changing the desk space. You just have to get an extra-tall monitor stand. They exist for just that reason.
  8. TVs are meant to be viewed from a distance. There are charts for determining the ideal viewing distance for a given TV. Advice that's often ignored, as evidenced by the many times I've visited people's homes and seen a set far too large for the room it's in. It's OK because you simply don't need ideal definition while watching Netflix, where you're not trying to navigate a mouse to a small spot on the screen or nudge an automation node by 10 pixels. Relegating that TV to its intended application, e.g. showing people standing behind you what you're doing, is a good idea. I do like wide monitors, though. Unfortunately, many actually have too high a resolution, making text difficult to read. At present I have a good compromise, two 34" screens at a modest 2560 x 1080 native resolution (4K is a waste for DAWS, IMO). Lots of room for lots of windows to be open at once, e.g. track view on one and PRV on the other, while presenting legible text. Here's the exact model I'm using. I would not go any larger, lest the displays intrude on my line-of-sight to the more important monitors, my speakers.
  9. I have to say, as a longtime Cakewalk user (since 1986) I have noticed the return to the philosophy of Cakewalk's earlier days. Companies that are under pressure to release a new paid version every 9-12 months tend to throw in a lot of half-baked fluff just so Marketing can add to its features matrix and thus justify charging for the same product over and over. Noel and company, thanks to Meng's patronage, are now free to concentrate on just making the product better. Hats off to Meng, and happy to hear Noel giving the guy the credit he deserves.
  10. BTW, in this podcast, Noel says the BandLab user base is 29 million. Not all of those are Cakewalk users, but holy crap, that's a LOT of people. That's about equivalent to the entire population of Texas.
  11. What would be of more interest to NI would be how many of those users actually care about Komplete Kontrol. A small minority, I suspect. At any rate, NI have always marched to their own drum. They are not exactly the most customer-centric company.
  12. Took me all day, but I finally finished the entire 2 hours. Great stuff, even some new (to me) information. "Wasabi"
  13. It will work fine, assuming the device still works. Might want to blow out the MIDI connector first. But you'll have no issues with USB 1.1.
  14. Thanks for the tip! I have had the pleasure of briefly hanging out with Noel. He is the geek's geek, a kindred spirit for sure. He should be thankful I'm not his next-door neighbor, as I'd be knocking on his door every day begging for a cup of nerd. Oh, hey, is that your wife practicing piano? Sure, I can stay a bit. If you insist.
  15. Do they work if you manually draw in the changes as automation?
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