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#1
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
I found a copy of Adobe Audition 1.5 And installed on
my Win7 x64, AMD Athlon 64 X2 2.61 GHz with 6GB Ram. In Audition 1.5 I loaded a 14.5 MB, 6 min mp3 file and it took 15 seconds to load. I did a 'save as', after few edits, it took 5 seconds The same file loaded in Audition CS6 in ~2 seconds. Saved in about 4 seconds. Apparently CS6 decodes faster than it encodes. Without checking out all the small bits Audition 1.5 seems very serviceable. It uses mp3PRO® audio coding technology licensed from Coding Technologies, Fraunhofer IIS and Thomson multimedia. I'm not sure what encoder Audition CS6 uses. Lame? Audition CS6 works with other formats like Flac, ogg and ape. Don't know what to say to the OP except check your settings like cache and temp file location, do a fresh install and make sure something else is not stealing your CPU and HDD resources. Trust me, it happens. |
#2
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Thu, 12 Nov 2015 02:14:17 -0600, gray_wolf
wrote: I found a copy of Adobe Audition 1.5 And installed on my Win7 x64, AMD Athlon 64 X2 2.61 GHz with 6GB Ram. In Audition 1.5 I loaded a 14.5 MB, 6 min mp3 file and it took 15 seconds to load. I did a 'save as', after few edits, it took 5 seconds The same file loaded in Audition CS6 in ~2 seconds. Saved in about 4 seconds. Apparently CS6 decodes faster than it encodes. Without checking out all the small bits Audition 1.5 seems very serviceable. It uses mp3PRO audio coding technology licensed from Coding Technologies, Fraunhofer IIS and Thomson multimedia. I'm not sure what encoder Audition CS6 uses. Lame? Audition CS6 works with other formats like Flac, ogg and ape. Don't know what to say to the OP except check your settings like cache and temp file location, do a fresh install and make sure something else is not stealing your CPU and HDD resources. Trust me, it happens. I have no intention of "upgrading" past Audition 1.5 until forced to do so. I tried the nightmare that was Version 3 and concluded to stick with what works with little to know problems. Rick Ruskin Lion Dog Music- Seattle WA http://liondogmusic.com |
#3
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 12 Nov 2015, Rick Ruskin wrote in
rec.audio.pro: I have no intention of "upgrading" past Audition 1.5 until forced to do so. I tried the nightmare that was Version 3 and concluded to stick with what works with little to know problems. What's wrong with ver. 3? I've used it a bit and it seemed to be a bit more resource-intensive, the interface and menus were changed a bit, but it seemed to have the same feature set and to work as well as ver. 1.5. I got the impression that after a short period of adjustment I'd be right back on track. Am I missing something? |
#4
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Thu, 12 Nov 2015 14:11:55 -0500, Nil
wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: I have no intention of "upgrading" past Audition 1.5 until forced to do so. I tried the nightmare that was Version 3 and concluded to stick with what works with little to know problems. What's wrong with ver. 3? I've used it a bit and it seemed to be a bit more resource-intensive, the interface and menus were changed a bit, but it seemed to have the same feature set and to work as well as ver. 1.5. I got the impression that after a short period of adjustment I'd be right back on track. Am I missing something? I hated that I needed to name a track before recording it. It was glitchy as all hell. And I thought the GUI was extremely cumbersome. All I need a DAW program for is to capture, edit, and play back. I handle eveything via a console. Rick Ruskin Lion Dog Music- Seattle WA http://liondogmusic.com |
#5
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 12 Nov 2015, Rick Ruskin wrote in
rec.audio.pro: I hated that I needed to name a track before recording it. It was glitchy as all hell. And I thought the GUI was extremely cumbersome. All I need a DAW program for is to capture, edit, and play back. I handle eveything via a console. I guess you were using the multi-track features. I only used it as a stereo recorder and editor, and I didn't need to name the track, just it the big red button and go. The editing features seem to be about the same as before. I always found the multi-track part of Audition 1.5 and 2 to be very cumbersome, so I guess I trained myself away from that. |
#6
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 13/11/2015 9:35 a.m., Rick Ruskin wrote:
On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: I have no intention of "upgrading" past Audition 1.5 until forced to do so. I tried the nightmare that was Version 3 and concluded to stick with what works with little to know problems. What's wrong with ver. 3? I've used it a bit and it seemed to be a bit more resource-intensive, the interface and menus were changed a bit, but it seemed to have the same feature set and to work as well as ver. 1.5. I got the impression that after a short period of adjustment I'd be right back on track. Am I missing something? I hated that I needed to name a track before recording it. It was glitchy as all hell. And I thought the GUI was extremely cumbersome. All I need a DAW program for is to capture, edit, and play back. I handle eveything via a console. You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! Went back to Vegas and am still (just) there. geoff |
#7
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote:
On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: I have no intention of "upgrading" past Audition 1.5 until forced to do so. I tried the nightmare that was Version 3 and concluded to stick with what works with little to know problems. What's wrong with ver. 3? I've used it a bit and it seemed to be a bit more resource-intensive, the interface and menus were changed a bit, but it seemed to have the same feature set and to work as well as ver. 1.5. I got the impression that after a short period of adjustment I'd be right back on track. Am I missing something? I hated that I needed to name a track before recording it. It was glitchy as all hell. And I thought the GUI was extremely cumbersome. All I need a DAW program for is to capture, edit, and play back. I handle eveything via a console. You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Jack Went back to Vegas and am still (just) there. geoff |
#8
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
JackA writes:
On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote: On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: snips You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really? So what happens if the take gets in a groove, goes longer than expected, and your allotment is exceeded, and yet disk space was still available? And what happens if the talent suddenly starts jamming with some one-of-kind performance? Rather than diving for the record button, the engineer has to first fiddle with "pre-allocation", losing more precious seconds of the jam, because software UI designers (once again) don't really understand the real-world workflow of tasks their products alledgely support? Perhaps this approach had some feeble merit back in the days long past when a BIG harddrive was 500 MBytes (which wasn't very many multi-track minutes), but these days of high performance, cheap, multi-terabyte drives this pre-allocation thing does seem like a silly hurdle. (I don't use Cubase, so I can't speak to the deeper reasons why they -- and apparently only they -- take this approach, but it would irritate the hell out of me, too.) It is one of the 21st century audio engineer's pre-session duties to glance at the available disk space and make a rough mental calculation as to the available space and anticipated needs of the session. Plus, there'd be a back-up recorder of some kind running, right? Frank Mobile Audio -- |
#9
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 11/12/2015 3:14 AM, gray_wolf wrote:
I found a copy of Adobe Audition 1.5 And installed on my Win7 x64, AMD Athlon 64 X2 2.61 GHz with 6GB Ram. In Audition 1.5 I loaded a 14.5 MB, 6 min mp3 file and it took 15 seconds to load. I did a 'save as', after few edits, it took 5 seconds The same file loaded in Audition CS6 in ~2 seconds. Saved in about 4 seconds. Apparently CS6 decodes faster than it encodes. Without checking out all the small bits Audition 1.5 seems very serviceable. It uses mp3PRO® audio coding technology licensed from Coding Technologies, Fraunhofer IIS and Thomson multimedia. I'm not sure what encoder Audition CS6 uses. Lame? Audition CS6 works with other formats like Flac, ogg and ape. Don't know what to say to the OP except check your settings like cache and temp file location, do a fresh install and make sure something else is not stealing your CPU and HDD resources. Trust me, it happens. Thanks for doing that. I monitor the resources in use by the computer all the time. That's not the problem. The settings are the same as they are for an XP installation (on a Pentium 4) that works perfectly. Either W7 doesn't like 1.5, or 1.5 doesn't like the SSD. I'm going to install it on a W7 computer with a mechanical hard drive to see if there is any difference. I'm such a fan of 1.5 (like Rick) that I'm prepared to get a new computer and leave in on XP, if that's what it takes. Just don't leave an XP computer exposed on the Internet. |
#10
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Friday, November 13, 2015 at 7:48:25 AM UTC-5, Frank Stearns wrote:
JackA writes: On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote: On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: snips You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really? So what happens if the take gets in a groove, goes longer than expected In the professional world, some trial Takes are done before recording is even considered. I can't see someone allotting 6 minutes of audio for a 3.5 minute song, then find the songs is too long!! , and your allotment is exceeded, and yet disk space was still available? And what happens if the talent suddenly starts jamming with some one-of-kind performance? Rather than diving for the record button, the engineer has to first fiddle with "pre-allocation", losing more precious seconds of the jam, because software UI designers (once again) don't really understand the real-world workflow of tasks their products alledgely support? That never happens in the real world, where musicians goes nuts and fault the engineer since he should have expected it. Perhaps this approach had some feeble merit back in the days long past when a BIG harddrive was 500 MBytes (which wasn't very many multi-track minutes), but these days of high performance, cheap, multi-terabyte drives this pre-allocation thing does seem like a silly hurdle. (I don't use Cubase, so I can't speak to the deeper reasons why they -- and apparently only they -- take this approach, but it would irritate the hell out of me, too.) It is one of the 21st century audio engineer's pre-session duties to glance at the available disk space and make a rough mental calculation as to the available space and anticipated needs of the session. So you agree. Thank you. Plus, there'd be a back-up recorder of some kind running, right? Ask him/her, not me!!! Jack Frank Mobile Audio -- . |
#11
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Friday, November 13, 2015 at 1:14:27 PM UTC-5, wrote:
JackA, et al: I'm sorry that asshole from MA had to crash the original thread devoted to this topic. There was a lot of good discussion there, a lot of good ideas tossed around - until it showed up! Oh, it's okay. No harm done. I know he was lonesome after he was chewing on his owner's pant leg and eventually shook him free. Assume you're referring to None, The Wonder Dog. Jack |
#12
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
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#13
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
JackA writes:
On Friday, November 13, 2015 at 7:48:25 AM UTC-5, Frank Stearns wrote: JackA writes: On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote: On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: snips You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really? So what happens if the take gets in a groove, goes longer than expected In the professional world, some trial Takes are done before recording is even considered. I can't see someone allotting 6 minutes of audio for a 3.5 minute song, then find the songs is too long!! Been in a modern studio setting? Many artists like to be more "organic" on the one hand; while on the other hand some of the top talent simply walks in and does something, ONE TAKE -- no level checks, no rehearsals. Yes, that's absolutely true. If you've done your homework (or worked with this artist or someone like them before) you can readily pull this off, no problem. But if you missed it, you're the one who won't get called again. And, at the same time, if they're in a groove, things might well just keep rolling and rolling. "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) So given those two extremes that could happen -- even in the same session! -- how much do you pre-allot? And if it's a huge amount (just to be safe), is that allotment then tied to that project "forever", with no way to release what might be a large block of unused disk space for other sessions? This silly pre-allotment thing -- which is apparently unique to Cubase -- is an unnecessary pain in the ass. I'd reject Cubase immediately for that single reason alone. Now, there might be more to this in terms of how cubase actually operates, but if it is as surmized, nope, not an app I'd use for any of my sessions. , and your allotment is exceeded, and yet disk space was still available? And what happens if the talent suddenly starts jamming with some one-of-kind performance? Rather than diving for the record button, the engineer has to first fiddle with "pre-allocation", losing more precious seconds of the jam, because software UI designers (once again) don't really understand the real-world workflow of tasks their products alledgely support? That never happens in the real world, where musicians goes nuts and fault the engineer since he should have expected it. Guffaw! You really need to "sit in the hot seat" someday. The engineer is often there to read minds, make things happen, and keep them happening -- and take heat if something goes awry, especially if it's a high-dollar session. (Try doing a $6K/hour orchestra session some day. I have; all went well each time, but it's unnerving as hell; goes with the territory.) If something DID go wrong (matters not one teeny bit why or whose fault) and you lost the tracks from a 3 hour session, you can bet the person who signed that $18,000 check is going to be anything but forgiving or understanding.) Now, there are common-sense tricks to facilitate "dependable studio magic". For example, whether I'm tracking in the studio or on location, one of the duplicate multitrack machines runs nearly non-stop. (Thankfully it does NOT need to have its disk space pre-allocated!!) More often than you might guess those "rehearsals" or "level check" performances are gems or have some gem sections within them. You're damned glad you had a machine rolling and from experience had already set the levels darned close before anyone even sat down to play. And, you didn't have fuss with some stupid "guess the space" requirement of poorly designed software. Perhaps this approach had some feeble merit back in the days long past when a BIG harddrive was 500 MBytes (which wasn't very many multi-track minutes), but these days of high performance, cheap, multi-terabyte drives this pre-allocation thing does seem like a silly hurdle. (I don't use Cubase, so I can't speak to the deeper reasons why they -- and apparently only they -- take this approach, but it would irritate the hell out of me, too.) It is one of the 21st century audio engineer's pre-session duties to glance at the available disk space and make a rough mental calculation as to the available space and anticipated needs of the session. So you agree. Thank you. Agree with what? The simple point is that pre-allocation is an awkward, irritating, and unnecessary layer. Simply plug in a 2 Tbyte drive, make sure there's at least one Tbyte free, and you're good to go for several sessions, and with an efficient use of space. None wasted, none coming up short. Frank Mobile Audio -- |
#14
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
theckma!-theckma!-theckma! @ omnibus-brevis.org sharted:
more of thecka ignoring me again, snipped Hey, li'l buddy, I see you're still an utter failure at ignoring me. You must be used to being a failure. You've ignored me by dedicating entire posts to me. You've even started threads about me, you were ignoring me so hard! As everyone with even half a brain will have noticed, if they give a ****, is that your little tantrums on my behalf always seem to get responses that you really won't like. In fact, your veins will be bulging and your eyes will be seeing red. And I've pointed it out to you explicitly several times. But "everyone with even half a brain" doesn't include you; you don't even come up to the "halfwit" level. FCKWAFHA. |
#15
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Friday, November 13, 2015 at 6:49:57 PM UTC-5, Frank Stearns wrote:
JackA writes: On Friday, November 13, 2015 at 7:48:25 AM UTC-5, Frank Stearns wrote: JackA writes: On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote: On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: snips You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really? So what happens if the take gets in a groove, goes longer than expected In the professional world, some trial Takes are done before recording is even considered. I can't see someone allotting 6 minutes of audio for a 3.5 minute song, then find the songs is too long!! Been in a modern studio setting? Many artists like to be more "organic" on the one hand; while on the other hand some of the top talent simply walks in and does something, ONE TAKE -- no level checks, no rehearsals. Yes, that's absolutely true. If you've done your homework (or worked with this artist or someone like them before) you can readily pull this off, no problem. But if you missed it, you're the one who won't get called again. And, at the same time, if they're in a groove, things might well just keep rolling and rolling. "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) So given those two extremes that could happen -- even in the same session! -- how much do you pre-allot? And if it's a huge amount (just to be safe), is that allotment then tied to that project "forever", with no way to release what might be a large block of unused disk space for other sessions? This silly pre-allotment thing -- which is apparently unique to Cubase -- is an unnecessary pain in the ass. I'd reject Cubase immediately for that single reason alone. Now, there might be more to this in terms of how cubase actually operates, but if it is as surmized, nope, not an app I'd use for any of my sessions.. , and your allotment is exceeded, and yet disk space was still available? And what happens if the talent suddenly starts jamming with some one-of-kind performance? Rather than diving for the record button, the engineer has to first fiddle with "pre-allocation", losing more precious seconds of the jam, because software UI designers (once again) don't really understand the real-world workflow of tasks their products alledgely support? That never happens in the real world, where musicians goes nuts and fault the engineer since he should have expected it. Guffaw! You really need to "sit in the hot seat" someday. The engineer is often there to read minds, make things happen, and keep them happening -- and take heat if something goes awry, especially if it's a high-dollar session. (Try doing a $6K/hour orchestra session some day. I have; all went well each time, but it's unnerving as hell; goes with the territory.) If something DID go wrong (matters not one teeny bit why or whose fault) and you lost the tracks from a 3 hour session, you can bet the person who signed that $18,000 check is going to be anything but forgiving or understanding.) Now, there are common-sense tricks to facilitate "dependable studio magic". For example, whether I'm tracking in the studio or on location, one of the duplicate multitrack machines runs nearly non-stop. (Thankfully it does NOT need to have its disk space pre-allocated!!) More often than you might guess those "rehearsals" or "level check" performances are gems or have some gem sections within them. You're damned glad you had a machine rolling and from experience had already set the levels darned close before anyone even sat down to play. And, you didn't have fuss with some stupid "guess the space" requirement of poorly designed software. Perhaps this approach had some feeble merit back in the days long past when a BIG harddrive was 500 MBytes (which wasn't very many multi-track minutes), but these days of high performance, cheap, multi-terabyte drives this pre-allocation thing does seem like a silly hurdle. (I don't use Cubase, so I can't speak to the deeper reasons why they -- and apparently only they -- take this approach, but it would irritate the hell out of me, too.) It is one of the 21st century audio engineer's pre-session duties to glance at the available disk space and make a rough mental calculation as to the available space and anticipated needs of the session. So you agree. Thank you. Agree with what? The simple point is that pre-allocation is an awkward, irritating, and unnecessary layer. Simply plug in a 2 Tbyte drive, make sure there's at least one Tbyte free, and you're good to go for several sessions, and with an efficient use of space. None wasted, none coming up short. Very true, I agree, but maybe a 2 T' byte drive isn't what I have. Maybe it's partly full. My DAW (prefer DAS) would tell me how much music I could record before beginning. I feel that's an excellent idea. Even Goldwave software I use requires a predetermined time-line. I ask you, what did they do in an analog world? Splice tape real-time when they discovered the drummer wanted to do a 2 hour solo? No. They had an idea what was going to be recorded. Personally, I wouldn't want to record anything, unless I had a decent idea how long it will take. Besides, if I were the engineer, they'd quickly know their allotted time had expired and I'd have to be paid double before continuing. And, finally, I'm not arguing that I have more experience than you at recording. I'm just stating what I believe is a logical way to record, that's all. Jack Frank Mobile Audio -- . |
#16
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
lil-krissie-krybabie @ hockeyhelmet.shortbus.ret drooled on his
shoe: Krissie's krap flushed Tell me, Ralphie Wiggum-Sosickie, does your cat's breath smell like ca-taf-oo, ca-ta-food, kitty litter and tunafisch? Hmmmm? Riddle me that, O ritarded one! "One - of - us! One - of - us! One - of - us! One - of - us! One - of - us! One - of - us! One - of - us! One - of - us! One - of - us!" Try chanting it, li'l buddy, you'll like it, I think. It's what microcephalics chant. Thanks for the laugh, dumb ****! I'm gone while you're still scratching your basaltic head! Nirmroghituotz, Krissie! YWKMAFHM? |
#17
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
субота, 14. новембар 2015. 00.49.57 UTC+1, Frank Stearns је написао/ла:
JackA writes: On Friday, November 13, 2015 at 7:48:25 AM UTC-5, Frank Stearns wrote: JackA writes: On Thursday, November 12, 2015 at 4:54:07 PM UTC-5, geoff wrote: On 13/11/2015 9:35 a.m., Rick Ruskin wrote: On Thu, 12 Nov 2015 14:11:55 -0500, Nil wrote: On 12 Nov 2015, Rick Ruskin wrote in rec.audio.pro: snips You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really? So what happens if the take gets in a groove, goes longer than expected In the professional world, some trial Takes are done before recording is even considered. I can't see someone allotting 6 minutes of audio for a 3.5 minute song, then find the songs is too long!! Been in a modern studio setting? Many artists like to be more "organic" on the one hand; while on the other hand some of the top talent simply walks in and does something, ONE TAKE -- no level checks, no rehearsals. Yes, that's absolutely true. If you've done your homework (or worked with this artist or someone like them before) you can readily pull this off, no problem. But if you missed it, you're the one who won't get called again. And, at the same time, if they're in a groove, things might well just keep rolling and rolling. "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) So given those two extremes that could happen -- even in the same session! -- how much do you pre-allot? And if it's a huge amount (just to be safe), is that allotment then tied to that project "forever", with no way to release what might be a large block of unused disk space for other sessions? This silly pre-allotment thing -- which is apparently unique to Cubase -- is an unnecessary pain in the ass. I'd reject Cubase immediately for that single reason alone. Now, there might be more to this in terms of how cubase actually operates, but if it is as surmized, nope, not an app I'd use for any of my sessions.. , and your allotment is exceeded, and yet disk space was still available? And what happens if the talent suddenly starts jamming with some one-of-kind performance? Rather than diving for the record button, the engineer has to first fiddle with "pre-allocation", losing more precious seconds of the jam, because software UI designers (once again) don't really understand the real-world workflow of tasks their products alledgely support? That never happens in the real world, where musicians goes nuts and fault the engineer since he should have expected it. Guffaw! You really need to "sit in the hot seat" someday. The engineer is often there to read minds, make things happen, and keep them happening -- and take heat if something goes awry, especially if it's a high-dollar session. (Try doing a $6K/hour orchestra session some day. I have; all went well each time, but it's unnerving as hell; goes with the territory.) If something DID go wrong (matters not one teeny bit why or whose fault) and you lost the tracks from a 3 hour session, you can bet the person who signed that $18,000 check is going to be anything but forgiving or understanding.) Now, there are common-sense tricks to facilitate "dependable studio magic". For example, whether I'm tracking in the studio or on location, one of the duplicate multitrack machines runs nearly non-stop. (Thankfully it does NOT need to have its disk space pre-allocated!!) More often than you might guess those "rehearsals" or "level check" performances are gems or have some gem sections within them. You're damned glad you had a machine rolling and from experience had already set the levels darned close before anyone even sat down to play. And, you didn't have fuss with some stupid "guess the space" requirement of poorly designed software. Perhaps this approach had some feeble merit back in the days long past when a BIG harddrive was 500 MBytes (which wasn't very many multi-track minutes), but these days of high performance, cheap, multi-terabyte drives this pre-allocation thing does seem like a silly hurdle. (I don't use Cubase, so I can't speak to the deeper reasons why they -- and apparently only they -- take this approach, but it would irritate the hell out of me, too.) It is one of the 21st century audio engineer's pre-session duties to glance at the available disk space and make a rough mental calculation as to the available space and anticipated needs of the session. So you agree. Thank you. Agree with what? The simple point is that pre-allocation is an awkward, irritating, and unnecessary layer. Simply plug in a 2 Tbyte drive, make sure there's at least one Tbyte free, and you're good to go for several sessions, and with an efficient use of space. None wasted, none coming up short. Frank Mobile Audio -- . Cubase was like that on ATARI, when it ws MIDI only and maybe up to VST32 version for Windows, I can not really remember. Now, what you seem not to be aware of, even on ATARI, for MIDI only, it had sort of "virtual tracks" feature, although they may have been named differently, meaning you'd draw an event to record into, but it would loop record happilly all the time, as long aas you don't hit stop, to find "takes" neatly stacked one under another. Then you could edit a perfect take out all the mess. The first couple of audio versions may have lacked the feature, I'm not sure, but what I am sure, we were still well in the '90s when it came availaable for audio takes. So, it was not about allocation of disk space, while it must be 15 years since you do not have to make an event prior to recording and even in the old times when you had to draw an event prior to recording, you'd not lose anything as long as you had prepared event and you could always record into one then copy to another and just like practice of the 21st century is one, back then practice was another, but at the same time it was the same, know your "Fuzzbox" and be prepared to use it. I'm not familliar with more modern incarnations of Cubase, I see they are at No.8(?) but I'm sure it is one excellent piece of music making and recording software, as it ever was. |
#18
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 13-11-2015 15:21, mcp6453 wrote:
On 11/12/2015 3:14 AM, gray_wolf wrote: Don't know what to say to the OP except check your settings like cache and temp file location, do a fresh install and make sure something else is not stealing your CPU and HDD resources. Trust me, it happens. It is probably still in the manual somewhere, at least two spindles recommended. I stand by my opinion that this is the issue here even if if the disk is SSD. Note all I know about SSD is that I bought a 2.5" disk before moving house a couple of years ago and that IBAS says there is no such thing as data-recovery from an SSD disk. Eventually however they will probably be cheaper because of the loss of ability to manufacture anything mechanical. My asumption is that the controller inside the disk does not like simultanous read and write. Thanks for doing that. I monitor the resources in use by the computer all the time. That's not the problem. The settings are the same as they are for an XP installation (on a Pentium 4) that works perfectly. Either W7 doesn't like 1.5, or 1.5 doesn't like the SSD. I'm going to install it on a W7 computer with a mechanical hard drive to see if there is any difference. I'm such a fan of 1.5 (like Rick) that I'm prepared to get a new computer and leave in on XP, if that's what it takes. Just don't leave an XP computer exposed on the Internet. You may find that XP is not installable on a new box. Anyway, one disk for audio storage, one for OS and temp-location 1 and another for temp-location 2 works best. You with then keep it reading from one drive and writing to another all the time for maximum speed. Kind regards Peter Larsen |
#19
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Audition 1.5 Problem I installed Audition 1.5 and.....
JackA writes:
-snips- and unnecessary layer. Simply plug in a 2 Tbyte drive, make sure there's = at least=20 one Tbyte free, and you're good to go for several sessions, and with an e= fficient=20 use of space. None wasted, none coming up short. Very true, I agree, but maybe a 2 T' byte drive isn't what I have. Maybe it= 's partly full. My DAW (prefer DAS) would tell me how much music I could re= Could well be. Depends on what you're doing. If it's a home-studio/hobby thing then yes, you'll probably run with whatever you have, and that's fine. If something goes awry, probably no big deal. But if you're a pro, with a rep to maintain to continue getting the better gigs, you'll have the appropriate resources, including simultaneous backups. cord before beginning. I feel that's an excellent idea. Even Goldwave softw= are I use requires a predetermined time-line. You mean you have to tell it how much time you might think you'll use and pre-assign it? If so, that's the darnedest thing I've ever heard of. Protools also has a time line (goes out to 600 minutes per session file or some such), but there is NO disk space pre-assigned to that time line, and you need never "pre-allocate" anything on that timeline prior to recording. Disk space is simply used as needed. It's a "management" item that is appropriately left to the machine. You need only do the occasional glance at your computer resources to make sure there's a ball-park amount of space available. I ask you, what did they do in an analog world? Splice tape real-time when = they discovered the drummer wanted to do a 2 hour solo? No. They had an ide= In the ultimate demanding situation for continuous record, say a live concert, two analog machines would be used, each getting the same set of signals. As the tape on one neared the end of the current reel, the other machine would be started, and there would be some overlap of program material between the two machines. The tape op would then unload the filled reel, label it accordingly, then load up a new reel on that idling machine. It'd then be ready once the other machine ran low on remaining time. And so it'd go, continuous recording while bouncing between machines. (And you hoped they were well-maintained constant tension machines so that if you did a splice in post between reels, the speeds across the splice matched exactly.) At 30 ips, the tape op was a busy guy -- and with a huge pile of 2" reels of 456 or 250 nearby. While in my teens I did the occasional stage work at a local theater. One year, the Record Plant mobile was following Carol King around on tour. Into a relatively small box truck they had an Audiotronics 36x24 console, JBL 4320s hanging nearly in your face (pretty damned big nearfields!), two 3M 24 tracks, and literally several hundred reels of 2" 456 stacked up next to the 3Ms. I stuck my head in. The two guys elbow to elbow at the console were relatively relaxed; the tape op had a furrowed brow and was highly focused on his job. He was not allowed ANY errors, whatsoever. His performance moment-to-moment needed to be perfect. Now in a studio, maybe a very short pause would be acceptable. I still have the muscle memory; I could thread an Ampex MM1000 or MM1200 and push record in something under 5 seconds, might even be 3. I'd be willing to bet any good tape op could do this with any machine of the day in far less time than it would take to mouse and draw a selection rectangle on screen (after the zoom was changed, of course), find a menu item to assign the space, click through to get all the channels into record, etc, etc. Fiddly -- and just plain stupid. a what was going to be recorded. Personally, I wouldn't want to record anyt= hing, unless I had a decent idea how long it will take. Besides, if I were = the engineer, they'd quickly know their allotted time had expired and I'd h= ave to be paid double before continuing. Depends. Sometimes in a 3 hour session tape barely rolled and maybe you used 15 to 20 minutes. Other times in that same session, things were in a groove and the tape almost never stopped rolling. You prepare for each. Given that a digital "track minute" these days probably costs 1,000x less than an old analog track minute (depending on how you want to calculate costs), you let things run, and use lots of tracks. (Aesthetically as you work through post, that can be a two-edged sword, but that's another discussion.) And, finally, I'm not arguing that I have more experience than you at recor= ding. I'm just stating what I believe is a logical way to record, that's al= l. Sure. And in my environment, "logical" means no unnecessary fiddly steps to get something going. Frank Mobile Audio -- |
#20
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Audition 1.5 Problem I installed Audition 1.5 and.....
What happens if you loose power during or just after a recording.
Does the pre-allocation make it any easier to recover? |
#21
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Audition 1.5 Problem I installed Audition 1.5 and.....
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#22
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 13/11/2015 12:03 p.m., JackA wrote:
You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really ? Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. geoff |
#23
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 14/11/2015 12:49 p.m., Frank Stearns wrote:
This silly pre-allotment thing -- which is apparently unique to Cubase -- is an unnecessary pain in the ass. I'd reject Cubase immediately for that single reason alone. Now, there might be more to this in terms of how cubase actually operates, but if it is as surmized, nope, not an app I'd use for any of my sessions. 'This was a long time ago - presumably they'e dumped that idea by now. Mind you, German software does quite often involve a different way of thinking. Think Logic in the early (PC) days. Incredibly powerful, but a pig to learn and totally unintuitive. Again, no idea what Logic (the DAW application, not the thought process - that's somebody else) is like now. geoff |
#24
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 14 Nov 2015, geoff wrote in
rec.audio.pro: Sort of dumb to do it any other way. Completely dumb to think it should be done that way. Really ? Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. I don't think Cubase requires that step any more, at least according to this youtube video: https://www.youtube.com/watch?v=pGQR2GeWqwc I don't use it myself, but a friend is a Cubase-head, and I've never heard him complain about that... and he's one who would, if it were a problem. Neither Reaper, Sonar, Audition, or Audacity require you to add an empty event before recording. In all of them you just set up the track and inputs, press the big red button, and go. |
#25
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 11/14/2015 10:07 PM, Nil wrote:
On 14 Nov 2015, geoff wrote in rec.audio.pro: Sort of dumb to do it any other way. Completely dumb to think it should be done that way. Really ? Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. I don't think Cubase requires that step any more, at least according to this youtube video: https://www.youtube.com/watch?v=pGQR2GeWqwc I don't use it myself, but a friend is a Cubase-head, and I've never heard him complain about that... and he's one who would, if it were a problem. Neither Reaper, Sonar, Audition, or Audacity require you to add an empty event before recording. In all of them you just set up the track and inputs, press the big red button, and go. I wonder if that could a holdover from a tape mindset? i.e. you only have a set space to record on. I've never had an app that did that. Back in the late 90's I used to record streaming audio. Just turn it on and let it go. I was most likely using WaveLab or Cool Edit |
#26
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 11/14/2015 10:45 PM, geoff wrote:
Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. As I recall, the Alesis HD24 required pre-allocation of recording space. That recorder used a non-standard way of writing to the disk and they could handle more tracks faster by knowing beforehand where they'd be located on disk. Back in the late 1970s, I was working for the National Weather Service in a program to replace the fax machines and Teletypes in field offices with computers. The contractor who got the job of building the systems used Data General Eclipse computers. They had three different types of disk file - random (like everybody does it today, sticking blobs of data wherever it will fit), something else that I don't remember, and contiguous. A contiguous file used pre-allocated space and the data was recorded sequentially with only data for that file going into the allocated space. The graphics files had to be contiguous so that they could be read out quickly enough to display faster than a fax machine. But, no, I haven't heard of a DAW that pre-allocates disk space, unless it's hidden from the user. -- For a good time, visit http://mikeriversaudio.wordpress.com |
#27
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Audition 1.5 Problem I installed Audition 1.5 and.....
Mike Rivers writes:
On 11/14/2015 10:45 PM, geoff wrote: Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. As I recall, the Alesis HD24 required pre-allocation of recording space. That recorder used a non-standard way of writing to the disk and they could handle more tracks faster by knowing beforehand where they'd be located on disk. No, preallocation is not required, though some users suggested pre-recording "dead air" for your anticipated needs -- just in case you lost power. The disk TOC only got updated each time you pressed stop and theoretically, pre-recording silence gave a better chance at recovery. But what a pain -- and for the same reasons as any fixed pre-allocation scheme. But also what pain if you did lose power -- and part of your recording. Far simpler (and overall more reliable) to add a 1U UPS to the rack. I have many, many thousands of hours on my machines and have never lost a gig. (But then, I stripe duplicate data to a second machine. You can bet I'd start having failures if that second machine were not around to "scare" the primary machine into behaving. w) And, for better and faster track management, I will pre-title for the gigs I do, but not pre-allocate space. Then, while recording a live gig on location, I can keep things in convenient chunks that might be 15-40 minutes long. (Typically there will be points at which you can jump to the next pre-allocated title. Alesis calls them "songs", and 99 songs can live in an overall titled container called a "project". Given that these management pre-allocated names were done before I get to the venue, I can switch between them in 1 second or less. You can do these pre-allocations off-line, using special software that understands the HD24 disk format. You can set track counts, sample rates, and name things as you wish with a regular keyboard. Way faster than scrolling around on the HD24 front panel. Later, after the gig, that same software is used to quickly offload the session data into your post-production computer.) In terms of the proprietary file format, Alesis was clever in developing a data striping scheme that was perfectly happy with the slow drives available back in the early 2000s (no problems with 24 tracks at 48K 24 bit on a 5400 RPM long seek time drive). Tracks are striped in a sort-of contiguous lock-step so that a chunk of track 22 won't be a huge amount of seek time away from track 3 of the same time index. There is much to recommend the machine, particularly the XR version (much better converters). Certain aspects feel very much like using an MM1200. It's tragic in many ways that the machine has been discontinued and that so far, no one has really duplicated it. The JoeCo box is kinda in the ballpark, but it's far less flexible in some respects and can be very spendy. recorded sequentially with only data for that file going into the allocated space. The graphics files had to be contiguous so that they could be read out quickly enough to display faster than a fax machine. Similar idea to the HD24, it sounds like. Frank Mobile Audio -- |
#28
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 15-11-2015 14:20, Mike Rivers wrote:
On 11/14/2015 10:45 PM, geoff wrote: Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. As I recall, the Alesis HD24 required pre-allocation of recording space. No. Press record and record. Adding files to a drive with the drive on a computer is another issue, then the virtual tape to put them on has to exist. That recorder used a non-standard way of writing to the disk and they could handle more tracks faster by knowing beforehand where they'd be located on disk. It writes a single interlaced file containing all tracks, basically emulating a whatever it was called that recorded on vhs tape, ie. a virtual tape. Thus its oddities. Kind regards Peter Larsen Back in the late 1970s, I was working for the National Weather Service in a program to replace the fax machines and Teletypes in field offices with computers. The contractor who got the job of building the systems used Data General Eclipse computers. They had three different types of disk file - random (like everybody does it today, sticking blobs of data wherever it will fit), something else that I don't remember, and contiguous. A contiguous file used pre-allocated space and the data was recorded sequentially with only data for that file going into the allocated space. The graphics files had to be contiguous so that they could be read out quickly enough to display faster than a fax machine. But, no, I haven't heard of a DAW that pre-allocates disk space, unless it's hidden from the user. |
#29
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 11/15/2015 10:26 AM, Peter Larsen wrote:
On 15-11-2015 14:20, Mike Rivers wrote: As I recall, the Alesis HD24 required pre-allocation of recording space. No. Press record and record. Adding files to a drive with the drive on a computer is another issue, then the virtual tape to put them on has to exist. I know there was something that required pre-allocated space. What could I have remembered that I don't remember? Maybe one of the tape-based digital recorders? I remember that the TASCAM DA-88 preferred having the tape pre-formatted, but it wasn't necessary. -- For a good time, visit http://mikeriversaudio.wordpress.com |
#30
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Audition 1.5 Problem I installed Audition 1.5 and.....
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#31
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Sun, 15 Nov 2015 08:20:12 -0500, Mike Rivers
wrote: On 11/14/2015 10:45 PM, geoff wrote: Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. As I recall, the Alesis HD24 required pre-allocation of recording space. That recorder used a non-standard way of writing to the disk and they could handle more tracks faster by knowing beforehand where they'd be located on disk. the HD24 requires you to choose the number of tracks but not the amount of time . I leave mine set @ 24 so it is never an issue. I have enough disks and space on each that economizing isn't an issue. Rick Ruskin Lion Dog Music- Seattle WA http://liondogmusic.com |
#32
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Audition 1.5 Problem I installed Audition 1.5 and.....
On 16/11/2015 4:57 a.m., Mike Rivers wrote:
On 11/15/2015 10:26 AM, Peter Larsen wrote: On 15-11-2015 14:20, Mike Rivers wrote: As I recall, the Alesis HD24 required pre-allocation of recording space. No. Press record and record. Adding files to a drive with the drive on a computer is another issue, then the virtual tape to put them on has to exist. I know there was something that required pre-allocated space. What could I have remembered that I don't remember? Maybe one of the tape-based digital recorders? I remember that the TASCAM DA-88 preferred having the tape pre-formatted, but it wasn't necessary. Must get around to fixing mine ! There must be people out there who would like their DA-88 project session tapes transferred to a more accessible format for remixing ! geoff |
#34
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Saturday, November 14, 2015 at 10:46:01 PM UTC-5, geoff wrote:
On 13/11/2015 12:03 p.m., JackA wrote: You think that's bad ? I got majorly put off Cubase every early on when I couldn't record anything. Turns out I needed to draw an empty event on the time-line before I could record into it !!! That is to allot disc space. If you blindly record, you could be near the end of your recording, with high hopes, and up pops a warning OUT OF DISC SPACE. Sort of dumb to do it any other way. Really ? Since not being turned on by Cubase over 12(?) years ago and having tried most other DAW software I've *never* had to draw an empty event to record into, never had to allot disk space in any other way, and have never come close to running out of disk space during a session. This just adds to fuel my fire that there are no "professionals" here. Jack geoff |
#35
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Sunday, November 15, 2015 at 10:57:53 AM UTC-5, Mike Rivers wrote:
On 11/15/2015 10:26 AM, Peter Larsen wrote: On 15-11-2015 14:20, Mike Rivers wrote: As I recall, the Alesis HD24 required pre-allocation of recording space. No. Press record and record. Adding files to a drive with the drive on a computer is another issue, then the virtual tape to put them on has to exist. I know there was something that required pre-allocated space. What could I have remembered that I don't remember? Maybe one of the tape-based digital recorders? I remember that the TASCAM DA-88 preferred having the tape pre-formatted, but it wasn't necessary. I'm guessing some of these DAWs are made for people who can't think ahead, sort of like what I see in updates of Windows. You have one push-button audio engineers. Jack -- For a good time, visit http://mikeriversaudio.wordpress.com |
#36
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Audition 1.5 Problem I installed Audition 1.5 and.....
Frank Stearns wrote:
"Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) It's dramatic how different things are... used to be folks would work hard to conserve tape and record as little as possible... now the tracking guys just let the machine roll and roll and leave it to the poor sod in mixdown to figure out what is actually useful. If they are lucky there are some notes. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#37
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Audition 1.5 Problem I installed Audition 1.5 and.....
Frank Stearns wrote:
In the ultimate demanding situation for continuous record, say a live concert, two analog machines would be used, each getting the same set of signals. As the tape on one neared the end of the current reel, the other machine would be started, and there would be some overlap of program material between the two machines. Okay, so time for stupid war stories. I'm recording a folk rock band that is sort of on the way up, they have a record deal but the label is not exactly soaking them with cash. Someone gets a "really good deal" on time on a truck that is at a stop on the tour with the plan of recording three nights of concerts in that city for release as a live album. So, I talk to the guy with the truck, it is weirdly equipped with two swanky new ATR-104 machines which can be swapped into 2-track or 4-track for mixdown (this being the era of the Great Quadrophonic Scare) and some sort of 2" machine that can only take 10" reels. So, seeing that the 2" machine is more or less useless in a live concert situation without a second machine, and seeing that there are only about six tracks coming off the stage anyway, I figure we run 4-track, devote two to stage submixes and two to ambient feeds, and rely on the ambient feed. I get a bunch of tape on 14" pancakes and the appropriate flanges shipped to the guy, tell him what mike kit I want, and fly in. So.... it turns out the ATR-100 machines have the motors in the wrong position to run 14" reels, and when we move them on one machine, it isn't stable with the big reel. The second machine is totally dead, at least one power supply is out. So we record the first night at 15 ips on 10" reels with frequent reel changes, and constant talk on the clearcom with the poor FoH guy who is telling the band between songs to vamp a little while for our reel changes. The first guy had the tape wound down to a 10" reel and had the end of it threaded onto a take up reel so when the band stopped, he hit stop and edit, pulled the reel holders off while the second guy took both reels off, dropped two new ones on, put the reel holders on, tensioned the tape and hit stop and then play. The machine was balky so this did not always go as fast as it might have. I had to go in and apologize to the guys afterward. The next night we got the second machine running. The thing did actually get released and it sold enough that I should have asked for points. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#38
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Tuesday, November 17, 2015 at 6:52:56 PM UTC-5, Scott Dorsey wrote:
Frank Stearns wrote: "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) I care less what People today expect, they are stupid, not I. So little talent left in the music world, it's growing pathetic. Jack It's dramatic how different things are... used to be folks would work hard to conserve tape and record as little as possible... now the tracking guys just let the machine roll and roll and leave it to the poor sod in mixdown to figure out what is actually useful. If they are lucky there are some notes. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#39
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Audition 1.5 Problem I installed Audition 1.5 and.....
JackA writes:
On Tuesday, November 17, 2015 at 6:52:56 PM UTC-5, Scott Dorsey wrote: Frank Stearns wrote: "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) I care less what People today expect, they are stupid, not I. So little talent left in the music world, it's growing pathetic. Too bad you haven't experienced working with top-flight people. I'm just thrilled that the technology now enables me to support them -- nearly completely -- without derailing what they're doing (assuming I've done the other details of my job properly). That's something I saw a lot of as a young engineer: primitive technology frequently stepping directly into the artist's path, along with plain old engineering incompetence. Those weren't my sessions, I was just the gopher, but I learned a ton about the importance of pre-production and planning (and avoiding session bottlenecks), something many folks still don't do as thoroughly as they should. Every gig I do is carefully thought through, every detail planned. But all of that is mostly hidden from the talent, so that they can feel "casual" but still get right down to business. Oh, and good pre-planning can actually leave you adequate wiggle room for the unexpected. It seems to be a win-win approach. Just finished a bluegrass album that was done exactly that way. Good players, good voices; they were thrilled because for the /first time/ they all felt that "the studio" wasn't herding them in a direction that might not be the best for their way of performing. Great energy and tones; wonderful synergy from them as a band because no part of what they were doing was being siphoned off by something artificial or contrived. Well, truth be told, studio recording is mostly artificial and contrived -- the trick is to have a good performance blossom on top of all that. Frank Mobile Audio -- |
#40
Posted to rec.audio.pro
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Audition 1.5 Problem I installed Audition 1.5 and.....
On Tuesday, November 17, 2015 at 8:36:18 PM UTC-5, Frank Stearns wrote:
JackA writes: On Tuesday, November 17, 2015 at 6:52:56 PM UTC-5, Scott Dorsey wrote: Frank Stearns wrote: "Uhhhh, 'scuse me, Mr or Ms Talent... I have to break your creative flow now and **** you off, because I have to stop the sesion and allocate another hour of session space on my crummy software, even though I had an hour assigned because you originally told me it was one five minute song..." (Yes, in the old days you were changing 2" reels every 16 minutes but those days are gone. People *expect* to now be able to stay in the flow.) I care less what People today expect, they are stupid, not I. So little talent left in the music world, it's growing pathetic. Too bad you haven't experienced working with top-flight people. I'm just thrilled that the technology now enables me to support them -- nearly completely -- without derailing what they're doing (assuming I've done the other details of my job properly). That's something I saw a lot of as a young engineer: primitive technology frequently stepping directly into the artist's path, along with plain old engineering incompetence. Those weren't my sessions, I was just the gopher, but I learned a ton about the importance of pre-production and planning (and avoiding session bottlenecks), something many folks still don't do as thoroughly as they should. Every gig I do is carefully thought through, every detail planned. But all of that is mostly hidden from the talent, so that they can feel "casual" but still get right down to business. Oh, and good pre-planning can actually leave you adequate wiggle room for the unexpected. It seems to be a win-win approach. Just finished a bluegrass album that was done exactly that way. Good players, good voices; they were thrilled because for the /first time/ they all felt that "the studio" wasn't herding them in a direction that might not be the best for their way of performing. Great energy and tones; wonderful synergy from them as a band because no part of what they were doing was being siphoned off by something artificial or contrived. Well, truth be told, studio recording is mostly artificial and contrived -- the trick is to have a good performance blossom on top of all that. Frank Mobile Audio -- . Frank, no disrespect, but you write too much!!! :-) Keep it short and sweet. You make me feel guilty not covering everything you write!! Now, I need your honest opinion. Do YOU see/hear the electric guitar dying in Popular music? I do, but I need confirmation others hear it, too. Listen to Rap music, no musical talent needed. It seemed only to become "popular" as part of a plan to decay the USA. Me, if I recorded some group, NO OVERDUBBING WOULD BE ALLOWED. If you lack talent and need to overdub, hire more musicians for the group, or go elsewhere. The one group I admire is The Knack - little, if any, overdubbing. They (founder)wanted to sound as good live as in the studio. Just posted A Little Bit O' Soul (The Music Explosion). Darn fine drummer, but was that really some studio musician? Why I'm confused who to credit, since music is faked. I grew to tolerate overdubbing, still REAL people playing instruments. When did I first realize overdubbing? Back in the 80's, playing my drums to records and radio, figured I needs more than two hands to replicate the drumming!! Jack |
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