[Paul[_13_]]

I've considered getting a protools setup for myself, but
then thought about how nice it would be to have a recording
engineer help me, so i can focus on playing my instrument.

And the musicians i know are in other states, so i would have
to fly out there to record with them.


I'm aware of the ability to burn a DVD-R with all the track info,
including i hope, mixing and panning info during the final
mix down. But I'm sure there is a limit to this, besides
the obvious memory limit.


How feasible would it be to record bits and pieces of the
tracks here and there? And are all Protools setups
compatible in this way? Like any of the protools studios
could download from my DVDs? This way, i would
only have to take my data DVDs with me on the plane.


And how long do studios typically save your track data
on their machines in the studio? (in case your DVD
gets ruined)?


I'm thinking this might be the best way for me to record my
buddies in other states.

[Scott Dorsey]

Paul wrote:
I've considered getting a protools setup for myself, but
then thought about how nice it would be to have a recording
engineer help me, so i can focus on playing my instrument.

There's no reason you can't do both.

And the musicians i know are in other states, so i would have
to fly out there to record with them.

Or fly them here. Or fly a tape.

I'm aware of the ability to burn a DVD-R with all the track info,
including i hope, mixing and panning info during the final
mix down. But I'm sure there is a limit to this, besides
the obvious memory limit.

No, there isn't. You can take your entire project and put it on DVD-R
or onto a DLT tape. It might take several discs or tapes to store a
large project, but that's not a problem.

How feasible would it be to record bits and pieces of the
tracks here and there? And are all Protools setups
compatible in this way? Like any of the protools studios
could download from my DVDs? This way, i would
only have to take my data DVDs with me on the plane.

Sure, people do this all the time. It used to be that 2" tape was the
industry standard, and for collaborative sessions people would record
a tape in one studio, then mail to to someone else in another city who
would take it to another studio, lay down another track, and mail it
back. You can do the exact same thing with Pro Tools.

You can, in fact, do the exact same thing with just about any DAW system
but since Pro Tools is so common, it reduces the amount of importing and
exporting you wind up having to do when you send the tracks around.

And how long do studios typically save your track data
on their machines in the studio? (in case your DVD
gets ruined)?

As long as you pay for. Unless you have paid to keep everything on a
removable disk on their shelf, your session is probably wiped within a
day or so. If possible, you want it wiped as soon as you leave so that
your tracks don't somehow wind up on someone else's album.

I'm thinking this might be the best way for me to record my
buddies in other states.

The problem you encounter doing this kind of thing is that everybody plays
differently when they are doing overdubs, compared with how they play when
everybody is jamming together in one studio. For some people this isn't
a problem, for some people it totally destroys the groove.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Paul[_13_]]

On Oct 19, 7:07�am, (Scott Dorsey) wrote:
Paul wrote:
I've considered getting a protools setup for myself, but
then thought about how nice it would be to have a recording
engineer help me, so i can focus on playing my instrument.

There's no reason you can't do both.

And the musicians i know are in other states, so i would have
to fly out there to record with them.

Or fly them here. �Or fly a tape.

I'm aware of the ability to burn a DVD-R with all the track info,
including i hope, mixing and panning info during the final
mix down. �But I'm sure there is a limit to this, besides
the obvious memory limit.

No, there isn't. �You can take your entire project and put it on DVD-R
or onto a DLT tape. �It might take several discs or tapes to store a
large project, but that's not a problem.

How feasible would it be to record bits and pieces of the
tracks here and there? �And are all Protools setups
compatible in this way? �Like any of the protools studios
could download from my DVDs? � This way, i would
only have to take my data DVDs with me on the plane.

Sure, people do this all the time. �It used to be that 2" tape was the
industry standard, and for collaborative sessions people would record
a tape in one studio, then mail to to someone else in another city who
would take it to another studio, lay down another track, and mail it
back. �You can do the exact same thing with Pro Tools.


You mean they used to mail the original, master
analogue tape to someone else? Or a copy of the
original?

I would hesitate to mail an analogue original......I would
hand
carry the original on a plane myself.

Of course, in the digital age, i would have no
problem mailing a digital copy.




You can, in fact, do the exact same thing with just about any DAW system
but since Pro Tools is so common, it reduces the amount of importing and
exporting you wind up having to do when you send the tracks around.


Ok, so basically my data discs will be compatible with
any protools setup, right? That sounds ideal.


And how long do studios typically save your track data
on their machines in the studio? �(in case your DVD
gets ruined)?

As long as you pay for. �Unless you have paid to keep everything on a
removable disk on their shelf, your session is probably wiped within a
day or so. �If possible, you want it wiped as soon as you leave so that
your tracks don't somehow wind up on someone else's album.


Oh, yeah, i didn't think about that!



I'm thinking this might be the best way for me to record my
buddies in other states.

The problem you encounter doing this kind of thing is that everybody plays
differently when they are doing overdubs, compared with how they play when
everybody is jamming together in one studio. �For some people this isn't
a problem, for some people it totally destroys the groove. �
--scott
--
"C'est un Nagra. �C'est suisse, et tres, tres precis."


Yes, that's a given. But i had so many
problems with timing on my first CD, that i think
i'm gonna use a click track this time....

[Scott Dorsey]

Paul wrote:

You mean they used to mail the original, master
analogue tape to someone else? Or a copy of the
original?

Usually the original, sometimes a dub, but you lose an awful lot when
you make a dub on 2". It's not like the digital world.

I would hesitate to mail an analogue original......I would
hand
carry the original on a plane myself.

This is always a better idea.... and back in the days before FedEx
you could sometimes find a pilot or stewardess willing to hand-carry
a package for you too. Carrying the original yourself, though, defeats
the whole purpose of sending the tape.

Of course, in the digital age, i would have no
problem mailing a digital copy.

The digital age is less scary in some ways, and more scary in others.
The risks just get moved around a bit.

You can, in fact, do the exact same thing with just about any DAW system
but since Pro Tools is so common, it reduces the amount of importing and
exporting you wind up having to do when you send the tracks around.

Ok, so basically my data discs will be compatible with
any protools setup, right? That sounds ideal.

Yes. And with some tinkering and poking you can import them into just
about any DAW out there, even something like RADAR. At worst you will
lose metadata like fader moves and processing configuration, but you
don't really want to worry about that stuff until tracks are laid down
anyway.

The problem you encounter doing this kind of thing is that everybody play=
s
differently when they are doing overdubs, compared with how they play whe=
n
everybody is jamming together in one studio. =EF=BF=BDFor some people thi=
s isn't
a problem, for some people it totally destroys the groove. =EF=BF=BD

Yes, that's a given. But i had so many
problems with timing on my first CD, that i think
i'm gonna use a click track this time....

Well, if possible lay down the drums first, if you don't have a click.
Some drummers are good at playing to click, some are terrible. Find
out beforehand.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Paul[_13_]]

On Oct 19, 4:49�pm, (Scott Dorsey) wrote:
Paul wrote:

� � � �You mean they used to mail the original, master
analogue tape to someone else? �Or a copy of the
original?

Usually the original, sometimes a dub, but you lose an awful lot when
you make a dub on 2". � It's not like the digital world.

� � � �I would hesitate to mail an analogue original......I would
hand
carry the original on a plane myself.

This is always a better idea.... and back in the days before FedEx
you could sometimes find a pilot or stewardess willing to hand-carry
a package for you too. �Carrying the original yourself, though, defeats
the whole purpose of sending the tape.



But the point is that I'll be going to
the produce the musicians, not the other way around. So
carry the tape or DVDs will not be a problem. I want
to be there during all recording work.





� � � �Of course, in the digital age, i would have no
problem mailing a digital copy.

The digital age is less scary in some ways, and more scary in others.
The risks just get moved around a bit.


Yes, i'm aware of this. I lost many hours of
work on a Roland V-Studio.



You can, in fact, do the exact same thing with just about any DAW system
but since Pro Tools is so common, it reduces the amount of importing and
exporting you wind up having to do when you send the tracks around.

� � �Ok, so basically my data discs will be compatible with
any protools setup, right? �That sounds ideal.

Yes. �And with some tinkering and poking you can import them into just
about any DAW out there, even something like RADAR. �At worst you will
lose metadata like fader moves and processing configuration, but you
don't really want to worry about that stuff until tracks are laid down
anyway.

The problem you encounter doing this kind of thing is that everybody play=
s
differently when they are doing overdubs, compared with how they play whe=
n
everybody is jamming together in one studio. =EF=BF=BDFor some people thi=
s isn't
a problem, for some people it totally destroys the groove. =EF=BF=BD

� � � � �Yes, that's a given. �But i had so many
problems with timing on my first CD, that i think
i'm gonna use a click track this time....

Well, if possible lay down the drums first, if you don't have a click.
Some drummers are good at playing to click, some are terrible. �Find
out beforehand.
--scott
--
"C'est un Nagra. �C'est suisse, et tres, tres precis."


Good idea, yes. Thanks for your input.

[Eeyore]

Paul wrote:

I've considered getting a protools setup for myself, but
then thought about how nice it would be to have a recording
engineer help me, so i can focus on playing my instrument.

Just a little anecdote. Mark Thompson at Funky Junk refers to it as
'Slow Tools'.

LOL !

Graham