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Mike Rivers
 
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In article writes:

I assume that the Finalizer was connected to a digital output of the
console, and Masterlink was connected to a digital output of the
Finalizer?


If so, there's no way that you could feed an "overload" to the Finalizer,


I guess I'm headed for a music store to play with a Finalizer. I would
have thought not, but the 'soft limit' indicator was definitely flashing
with some transients.


"Soft limit" is just a euphamism for compression with a fairly high
threshold and fairly high ratio, so it indeed starts working before
reaching full scale. But with guys like Bob Katz acknowledging that a
Finalizer isn't all that bad if you use it correctly (he wrote a book
about it for t.c., possibly downloadable from their web site) I guess
it's tolerable.

Still, unless the monitors were connected to the analog output of the
console (I think you said they came off the Masterlink) you should
have been monitoring whatever the Finalizer was doing. So that points
to the monitoring system.

I just don't have a good grip on how much, if any, of this mess should
actually fall on my shoulders.


Unfortunately, as a business deal, probably most of it. I think it
might be worth putting a little of your own money into it to mix a
couple of songs at home, send them to the client, and if he likes that
job, offer to mix the project over again like (and where) you wanted
to do it in the first place, let him pay for the studio time, and give
him a little break on your rate. If he cared enough about having you
come up to mix the project, he should have enough confidence in your
work so that he doesn't need to be there to approve every mix,
particularly since you have the work you did with his approval as a
reference.


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