Gswitz

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All the best. Sorry to hear it.

Yay Bill. Cheering for you!

Glad you're fixed.

My best to you.

https://ethaniverson.com/chick-corea-1941-2021-by-mark-stryker/

Lol. I heard when we started building big dams around the world, ocean levels were measurably impacted. Science is cool. There is a book called weather for dummies i want to read.

You all need one of Craig anderton's cables with the red leds soldered on. He calls it a transient tamer. I made one. Works like a charm. Also, guitar pickups are hotter than mics which is why the cables can be unbalanced. It's surprising but true. Nice preamp and compressor chains always help, but the transient tamer guitar cable helps more and costs like usd $2 if you can solder. Yes, i do own a Rupert neve preamp, but when i play direct i don't find it necessary to use it when using the transient tamer. When playing into an amp, you don't want to use a transient tamer cable.

You should be able to replicate this playing the track in real time. It's very likely something some where is clipping. If not, I'm with @Kevin Perry on trying to disable the 64 bit double precision but this was a fix like 10 years ago to stuff. Idk if it matters now. I think it's almost never that I use a 32 bit plugin. Check the red lights on all your pro channels during play back. If they ever blink red, fix it.

Interesting, Kevin. You're right it seems. You have to loop it back in through your interface to do the trick. I achieved it by sending the output of the compressor to a looped back channel and then the input of that channel to the sidechain. This did the trick. Curious that it isn't allowed easily but it's easy enough to work around if you really want it. I can do it with my hardware compressor too. It just never occurred to me as an option. Makes sense to use some EQ on the signal too to highpass it if you feel like it.

to eliminate external dependencies, literally loop it back to the interface and see if you see the signal coming back in.

Last time I rode I had to get my elbow screwed back together. ? (well, not the last time... the last time as far as my wife knows. That skateboard is just balanced between the supports... it lifts off and rides just fine.)

She is. ? Turned 18 last week. You got a long road ahead, bit.

The in wall phone jack is actually how we get the phones to work through the router that is in the room. It's actually backwards... it's the path for the phone downstairs to get out of the house through the router.

This is inspired by the fact that I hadn't learned anything new in a long while and just this week bumped into a new idea from the Neve hardware. So I thought I'd make a list of reasons to use the side chain and how to use it to achieve certain FX. 1. Ducking bass to hear kick-- Feed the Kick drum into the side chain on a compressor on the bass to suppress the bass when the kick hits. You can make a copy of the kick track and nudge it slightly early for this purpose if you like. 2. Ducking vocal verb when singer is singing. Compress the reverb for the vocals with the vocals on the side-chain so that when the singer stops singing the reverb comes up in the mix but the reverb doesn't muddy the words. 3. De-Esser... send only the high frequencies (1500+) to the compressor side-chain so that it compresses S sounds but doesn't compress non-high-frequency content. 4. For compressing the mix, high pass above 300 or 350 and send that to the compressor side-chain so the compressor isn't constantly triggered by bass content. 5. Trigger the fast attach compression on never heard content. For example, drag in a drum track, loop it and send it only to the side chain of a pad to create a rhythmic pulsing. 6. ** this is new to me ** send the compressed output of the compressor to the sidechain on the same compressor to create a smoother compressed signal. This is good for cases where you want subtle compression. Some Neve compressors have this is a choice. 7. Mixing in the original track with the compressed track (NY Style compression). I'm sure there are some I'm not thinking of. Probably obvious stuff. But this should be enough to get the thread started.

I have a magnetic Lego Jerry and Phil on my Rivera Rock crusher. She turns them upside down after scrambling the settings on my gear. I'm suppose to notice and fix the high pass or the watch out for the phantom before plugging in the ribbon. ? This is harder than you might think, but it's good practice. Like getting hit in the stomach by a friend when you aren't expecting it. Inspector Clousseau preparing for battle. And today, after recording a good 15 loops of a tune for a guitar lesson I hit undo a few times and re-do couldn't recover me. Ack! But there was an auto backup that had my stuff, so it was ok. How do you bring in one of those large wave file made during a loop recording so you can see all of the tracks? Dragging it in didn't do the trick. It only showed the last recording. And I look up and Jerry is heads up and Phil is heads down... What could that mean?

I love good gear. I tend to record a good mic through a good pre. I send that to my compressor. Performing into gear with real time feedback helps. Recording the original before sending it to the compressor is a nice safety, but i rarely need it. I tend to just use the original for compressor wet dry mix. I use maudio align to calculate offset. I love analog fx. Delays. Phasers. Moog everything. Wah. Drive. AMP!!! Cheap gear is cool too. I've had art pres. The most useful thing i picked up was a patch bay. It makes it easy to connect any output to any input without climbing around under the desk.

I consider used everything... ? The trick is to make sure you check it out first. See if you can plug it in and hear it work before exchanging money. The most likely problem with them would be dirty pots which you can fix with some Deoxit. Used gear sounds better. ? The biggest problem I've had with used gear is that when it doesn't sound like I think it should, I can't be sure if it's me or the gear (always me. ? )

While I've loved listening to tons of music, my largest influencers have been my teachers. I had a drum teacher in 4th grade who taught me to read time in sheet music which has proved very handy over the years... He was a teacher at Virginia Commonwealth University but I no longer know his name. I had choir directors and a bass teacher in grade school. I had a great guitar teacher, Ed Rudman, in Boulder Colorado for around 4 years who started me on Real Book tunes in 1993. Lots of friends along the way urged me to learn one song or another. 2 ArtistWorks teachers (Dave Stryker and Andreas Oberg) have helped me stretch in new directions. Watching live music like Yonder Mountain String Band or Dave Matthews Band or the Grateful Dead also had a big impact on me.

Cool you went in. Cool they picked up your gear. Bummer about the changes.

I should add that i physically loop back the spidf with a coax cable.

I learned the W hot key in totalmix and it really helps. Flipping between routing scenes is nice. Sometimes i use the side chain on a compressor and forget to turn it off when i don't want it. So now when i flip to the totalmix settings without the side chain, i just send the same signal to the compressor as the side chain so it doesn't matter if i forget the button on the compressor. Confusing but someone will get it. I love my gear. Some day, i will get a UFX. My ucx fairly rocks. I love looping back the spidf so i have an always on digital loop. I can rout to any audio input like skype or zoom. I can share audio from my pc while sharing my screen so i can mix real time with someone not in my space.

I have one mic for people who brush their teeth and another one for the rest of you guys.

I use like the same mics all through covid. Mostly, they all stay locked away. Covid is such a sad time to have a nice Mic collection. That said, my two favs see daily use and I have had time to play with settings and positions and etc that I don't normally bother noticing. It's kinda like back in the day when I only had 2 mics. ?

You might try getting the clip you want. By this I mean, bounce to tracks and export the wave you want. Then start a new project pull in the video and the wave. Solo the wave you want and export it as video choosing the codecs. Don't track fade or anything.