I have already decided a long time ago that I will have to get treatment. I've actually researched the subject for a few months and collected quite a lot of material on how to build different kinds of acoustic treatment, from bass traps to diffusors and high frequency absorbers. I pretty much know what to do and how to do it.

I know there is a fad over this, just haven't heard it. Do you have any links of examples?

Not quite sure what you mean. You mean examples of tracks where pumping compression is over-used? I don't listen much to that kind of "music" but any commercial dance or club kind of song over-uses it in my opinion. Maybe some songs I actually like use it without me being aware of it, but not to my knowledge.

You ask for examples, so reluctantlyfacepalm here is one in which I think pumping compression is way over-used. This guy's Swedish and is supposedly the one to have made this pumping sound popular. Since then every magazine for mass music production has at least one article a month explaining how to achieve this. It's like those recurring Cosmo articles on diets...

Sorry about the visuals. You never know how people will react. But I did post this for educational purposes... Just close your eyes and listen to the pumping compression...:wink:

wow, what a stunning women and a perfect example of pumping. A/V describing this.

Update on the sale of my hifi system: sold my vinyl rig the other day and I'm now waiting to get the $2100 Canadian into my account! The plan was to sell the MOON i5.3 RS integrated as well, for somewhere around $3700 - $3800 Canadian. However, I'm a little reluctant to do this, since I really like the sound it makes. Maybe the gear I was planning to get can double as a hifi system...

So what's new around here?

my my, what a beautiful system you are parting with. The MOON i5.3 RS looks amazing. [[url=http://[/URL]="http://www.simaudio…"]Simaudio MOON i5.3 Dual-mono Integrated Amplifier[/]="http://www.simaudio…"]Simaudio MOON i5.3 Dual-mono Integrated Amplifier[/] I am just building my vinyl restoration system back up. I'm having fun right now comparing vinyl to hybrid.

You must be excited! What are you planning on buying now? You've had quite a few months to think more, yes?

Yes, I suppose, but I kind of settled the issue then and decided that I wouldn't come back to it until I had the money. That was before summer and I've almost forgotten what I decided! I suppose buying the Apollo Quad version and adding a summing mixer was the original plan, according to myself:

Serpentarius, post: 390274 wrote:
• Dangerous 2-BUS LT
UAD Apollo

• SPL MixDream (most likely the XP)
UAD Apollo

I was thinking of the SPL MixDream then because there was a used one on sale for a great price, but of course that unit is gone now and neither MixDreams nor Dangerous BUSes are to be found on the used market over here at the moment.

The two combos above plus this unit would be ideal:

SPL 2Control $640

So I would need to sell the MOON too, and I plan to get around $3800 for it. That's the theory.smoke

Either Dangerous Music or SPL are clear winners for both summing boxes and monitor controllers. I am bias to the MixDream because it has a " more complete) inserting setup, DB25 inserts that connect very clean to the converters ( no wire noise 1 m short runs for both ADDA) and it also has an added expander plus a Lundhal Tranny if you want to jazz up the output. It has 60 volt rails and abundant headroom. Its clean but silk and very nice.
NOTE, I have not compared it to the Dangerous 2-bus though ( which I should but it would mean re wiring my entire summing rig, so. that isn't going to happen. I cannot help you there but I'm sure its sound is so close apples to apples.

I personally think you need a min of 16 channels if you are using this for a full musical mix. 16 channels breaks down to 8 stereo stems and one of the pairs is taken up for the return if you are using one summing system. So you have Drums, Bass, Keys, Vox, Guitars, FX, Percussion, DAW.

If you really want to kick some ass, plan on a second recorder to save your mixes to. Since I have stopped doing the sample rate conversions and mixdown on the same box, I swear my mixes are even better sounding. I master to a second CP. That is the secret to one of the steps to mastering. I use a Prism Orpheus to mixdown onto Sequoia 12 to a second box. What a glorious converter and choice DAW software. I'm testing the new Korg [[url=http://[/URL]="http://korg.com/MR2…"]MR-2000S[/]="http://korg.com/MR2…"]MR-2000S[/] DSD recorder. Will have some info on that later this year.

I have got to start a new mix contest here just so I can play along. Do I dare stick my neck out, set myself up for failure or clearly demonstrate what a hybrid rig sounds like in 2012...? .
Ya... I do this all for fun and the music ( not for money, fame or fortune) so I don't really care either way like I used to when I was younger and the business supported me. My talent is as a musician and that's what I am. I'm pretty jacked up over this beast though. I love creating a buzz and getting people excited, or thinking or irritated at me because I keep talking about this lol.
But, I also know I need more experience at this and knowing that, I recognize my ability as an engineer right now is far from where I hope to be one day.. There are many others whom have been mixing a lot longer than me so I am well prepared to get schooled by my peers, especially those who are 100% ITB and using far less. diddlydoo A mix contest will be fun.

I feel like a kid that thinks he can do anything lol. And you know where that always ends up. duh

Glad to hear you are looking at a quality monitor controller. I can't rave enough about having a really good set-up. I have an SPL 2381 MTC and the Dangerous Monitor ST ( just trying out the /DAC ST).
Wow... I know I hear things others are missing who DO NOT have a good monitor controller. I also use the Lavry DA11 for a DA return for comparing things like CD.
I'm definitely spoiled but I also know what is good and not so good. I also know a lot more than I used too simply because I have done real comparisons. Your DAW is only as good as your monitoring system, and a few extra pieces of gear don't hurt, lol.

Here's the MixDream bundle:

Attached files

Aaarrggh. I just lost a post.

Anyway, the main gist was this: the plan is to buy a Mixdream XP, Apollo (Quad version) and an SPL 2Control to monitor the rig. Here's my plan:

To me this looks correct. I suppose it would look nearly identical if I got the Dangerous 2-BUS LT. Into the second XLR in on the 2Control could go another source, like a CD player, right? As long as it has balanced out. I assume all audio from the computer will go through the MixDream XP and the Apollo, right? So if I want to, say, watch a movie or talk through Skype the sound would go through the Apollo.

Of course on the down side is the fact that the Apollo only outputs 8 analog, which means that I would have to turn off 8 channels in the MixDream XP and consequently not be able to utilise those. Initially. Well, that was always the plan; that I would build the system over time into the one I want. In time, I would sell the Apollo and buy 16 channels of AD/DA in one form or another, and a separate preamp, (or more).

The 8 analog out of the Apollo is not ideal, I know. I just have to really work on the stems and make sure it all works in the end.

Attached files

I now have a possible sale happening of the MOON amp for around $3600 Canadian. That means if I get it sold I'll be able to get the Apollo, MixDream (grand version) and a 2Control—without having to give up eating the next couple of decades.

But what I'm thinking now is maybe I should just get the Lynx Aurora 16 channel one-box converter instead of the Apollo and then get a simple mono (or maybe two-channel) mic preamp. I've had a look trying to find 16 channel digital ADDA's and they're not that many of them on the market. Maybe with analog summing becoming more and more popular, some manufacturers will eventually become inspired and start developing more 16 and 32 channel converters. That is, if analog summing becomes more and more popular. But, today, when one does a search for 16 channel ADDA converters the only hits one gets are the Apogee 16x ADDA and the Lynx Aurora. I'm restricting myself to units I actually have a possibility of buying. Doubling up on the RME ADI 8 QS is unfortunately above my financial means right now.

But even if not having heard the Apollo, the idea of simply passing it by, in order to get a proper converter and start out with a cheaper mic pre looks rather inviting—after all, that was the original idea.

We'll see if the sale will happen.

Two reasons I use 2, 8 channel units apposed to a single rack 16, is I've read they are more stable and if one goes down, you still have the second one working.

Check gearslutz classifies for used converters

Also be aware the the lynx converters use Yamaha. Seems goofy to me when everyone else is tascam.

Why are you needing Canadian currency? Usd makes more sense yes?

How exciting!!!

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If you ate planning on inserting hardware, the MixDream is a great choice. If you don't think you will be using much outboard hardware, the Apollo seems like a cool system but it's not 16 I/O right?

Aurora 16 might be your best bet although I personally think they are overrated and lack function. A lot of people who use them in a hybrid rig end up going ITB and finding it all not worth it, a red flag to me. They ironically hold their price pretty well.
I tried to get one here a few years ago so I could do an A/B comparison against a RME ADI-8 QS' but Lynx never made it feasible.

They sell for around $3000 used.

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Regarding Canadian dollars, just trying to make life easier for you, mate! You're in Canada, right?smoke

Lynx using Yamaha and everyone else using Tascam? I don't follow.

As far as I remember the Apogee 16x ADDA is discontinued. And I haven't seen it yet on the used market over here. So if I want a box I can afford I don't see what else I can get than the Lynx Aurora. There was that German Ferrofish converter, but it seemed not quite so attractive as a product... Not that I've heard it or anything. It's less that half the price of the Lynx Aurora—who knows, maybe it's a hidden secret. Somehow though I doubt it.

No, the Apollo is 8 channel analog out, plus 2 dedicated to monitoring. Still, I've realised that 8 is far too few, that's why I'm thinking of passing on the Apollo, even though it looks really good. I have to try to get the gear I ideally want at the end and the Apollo was never in the mix for that. My ideal scenario is that I have a few but well-chosen outboard gear that I really like the sound of and learn to use them to their maximum potential in my mixes and recordings. Since I cannot afford quality and quantity, I have to settle for just quality. :wink:

Serpentarius, post: 393227 wrote: Regarding Canadian dollars, just trying to make life easier for you, mate! You're in Canada, right?smoke

Lynx using Yamaha and everyone else using Tascam? I don't follow.

As far as I remember the Apogee 16x ADDA is discontinued. And I haven't seen it yet on the used market over here. So if I want a box I can afford I don't see what else I can get than the Lynx Aurora. There was that German Ferrofish converter, but it seemed not quite so attractive as a product... Not that I've heard it or anything. It's less that half the price of the Lynx Aurora—who knows, maybe it's a hidden secret. Somehow though I doubt it.

No, the Apollo is 8 channel analog out, plus 2 dedicated to monitoring. Still, I've realized that 8 is far too few, that's why I'm thinking of passing on the Apollo, even though it looks really good. I have to try to get the gear I ideally want at the end and the Apollo was never in the mix for that. My ideal scenario is that I have a few but well-chosen outboard gear that I really like the sound of and learn to use them to their maximum potential in my mixes and recordings. Since I cannot afford quality and quantity, I have to settle for just quality. :wink:

As far as I remember the Apogee 16x ADDA is discontinued. ??

Did I mention Apogee ? They are another good choice though!

Regarding Canada,
Thanks but you know I'm not a dealer right? It makes no difference to me. You will be buying whatever you get from whomever you choose albeit, Sweden, USA or a used market somewhere on the planet. I am not in pro audio sales.

25 pin dsub connectors can be either wired for Tascam or Yamaha. Many people just getting into this are not aware that when they buy the cable, the digital dsub snakes ( or breakout cable) that connect your interface to your converters needs to be one or there other ( Tascam or Yamaha AES 110 ohm cable). So, what ever interface and converter you buy, be sure you buy the correct pinout that connects it all together. Also note: Tascam analog pinout is not the same as Tascam digital ( AES EBU) It will start making more sense to you as you get more into all this. Its a lot of info that doesn't mean much to people not mixing OTB.

The MixDream is Tascam analog pinout. All the connection on the MixDream are analog. Nothing is digital with it. But, it connects to the analog I/O of the converter.
The cable you use for that, to connect your analog chain uses a different cable that looks the same but is not. The pinout is different. You are going to need cable. Once you buy the interface and converter(s), ask us what you need for cable. We will be able to help.

Making more sense?

Yeah, I suppose.

On the Lynx website they say:

• Simultaneous 16 Channel Analog I/O and 16 Channel AES/EBU I/O
• 24 Bit / 192 kHz Mastering Quality A/D and D/A conversion
• 192 kHz AES/EBU I/O Supporting Single and Dual Wire Modes
• Single Rack Space Configuration
• Extensive Remote Control Capability via Lynx AES16, IrDA and MIDI
• On-board 32 Channel Digital Mixer Provides Flexible I/O Routing
• Word clock I/O with Lynx SynchroLock™ Sample Clock Technology
• Digital I/O DB-25 connectors follow Yamaha pinout protocol
  
• Analog I/O DB-25 connectors follow Tascam pinout protocol
• RoHS compliant
• Available in 100V, 115V and 230V models

This is rather ambiguous. :confused:
I assume I'd be using the analog I/O DB-25 connectors, which they say is Tascam...

Dsub connectors can be either digital or analog.
their digital used to be Yamaha and I'm assuming their analog is tascam

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Note

You need an interface too, which would need a cable that would connect to your converter. This could be either a tascam pinout or yamaha

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Serpentarius, post: 393247 wrote: Yeah, I suppose.

On the Lynx website they say:

This is rather ambiguous. :confused:
I assume I'd be using the analog I/O DB-25 connectors, which they say is Tascam...

Yes, welcome to ambiguous world of pro audio. Its a nightmare but once you get this sorted, its pretty easy to understand it all.

I've been trying to help via my iphone, erk... back in the studio so I have some links for you to look over:

You need an interface regardless and if you are going to be summing and mixing OTB, a stable one. Study up on interfaces. This one made by Lynx hooks up to your converter(s)
[="http://www.lynxstudio.com/product_detail.asp?i=16"]AES16e[/]="http://www.lynxstud…"]AES16e[/]
[[url=http://="http://www.lynxstud…"]CBL-AES1605 - AES16/AES16e & Aurora Eight-channel HD26 to D25 Yamaha Cable[/]="http://www.lynxstud…"]CBL-AES1605 - AES16/AES16e & Aurora Eight-channel HD26 to D25 Yamaha Cable[/]

No matter what converter you choose you can also use an RME interface. The interface will work for most converters. You just need to be aware of the cabling and how it all connects to your converters. You also need to understand how the converters hook up to your analog chain.

I choose RME because they are known to have the most stable drivers. The interface drivers are important because if they don't like your DAW or computer, nothing works well. Buggy crashing etc
I use the HDSPe AES 32 . http://www.rme-audio.de/en_products_hdspe_aes.php
Its solid. I'm told Lynx isn't as stable but this could be because of user errors too.

Yeah, but I think we've covered this issue earlier: I intend to connect the converter to my Mac via Firewire, (or possibly, eventually, Thunderbolt). I know AES/EBU is industry standard in the pro audio field but that is not an option at the moment, considering the type of computer I have. Like I said, if I have to upgrade the computer in the future I will have the opportunity to get one with AES/EBU inputs.

Ah,

Then you need a converter that is firewire ready.

[[url=http://[/URL]="http://www.lynxstud…"]Aurora 8/FW[/]="http://www.lynxstud…"]Aurora 8/FW[/]

I remember now this whole issue: the reason I looked at the Apollo is because it has both Firewire and Thunderbolt. Even if it's only 8 channels, so is the Aurora 8/FW, which is the only Aurora with a Firewire interface. If I want to get an Aurora converter—or practically any converter!—I'll have to get yet another box, an AES/EBU to Firewire converter. Or get a new computer, which basically means change the whole rig—everything...facepalm

If I don't want to change the computer, my only chance is to have the Aurora 16 fitted with a [[url=http://[/URL]="http://www.lynxstud…"]Lynx LT-FW[/]="http://www.lynxstud…"]Lynx LT-FW[/] card.

Or I get a Mac Pro fitted with AES/EBU connections and voilà.

Oh, the joys of modern technology...

Regarding the Tascam or Yamaha DB-25, it looks like the Aurora's analog I/O's are Tascam so they would fit the MixDream, right?

I see now that my only way to avoid having to get a totally new computer is to get the Lynx Aurora with the [[url=http://[/URL]="http://www.lynxstud…"]Firewire LSlot interface[/]="http://www.lynxstud…"]Firewire LSlot interface[/]. It's the only one that I've found so far that has 16 channels and Firewire compatibility. Since my current computer lacks customising features, the above scenario is the only one at this stage.

I don't like the fact that the Apollo is a one-box solution...

Seriously, at this stage I wouldn't mind going all-analog and skip the whole Gordian knot that is the digital interface maze. Throw out the computer too, while I'm at it...:

Another thing I could do is take the first advice you ever gave me and get my hands on a first class mic pre or channel strip. Stick with the Babyface, but get the API channel strip and bypass the Babyface preamps. I wonder what that would sound like...!

, the point I was trying to make is that you need to know which Pinout to buy before you order cable. Dsub cable can be custom made to whatever you need! Even if one side is tascam and the othe side is Yamaha aes . Make sense now?

Or even if one side is trs for the analog connections.

Example would be for the analog I/O of a MixDream, you can have Dsub on one end and trs on the other that connect to the analog side of the converter

OK, I get it. But it all boils down to the fact that if I don't want to buy a new computer (which I actually can't at the moment) I only have one possibility for analog summing, and that is the Lynx Aurora 16 with their LT-USB card installed. As far as I know no other multi-channel converter has USB or Firewire connectivity. As an aside, I checked and apparently USB is now better than Firewire for audiophile multi-channel sound.

Interestingly, quite a few people are asking for what I'm also asking for, which is kind of in-between the strictly stationary studio solution and the 100% mobile laptop-based recording studio. All comments regarding this revolves around the question: why can't manufacturers of professional digital converters for audio production come up with a working digital-mobile solution to complement the professional industry standard AES/EBU? Is the sound quality that much worse over USB (or even Firewire) compared to AES/EBU? I find it rather surprising that the only manufacturer of professional audio multi-channel ADDA converters that includes USB/Firewire connectivity is Lynx. I mean, if they do it why doesn't any of their competitors rival them in that field? After all, the LT-USB card provides 8 bi-directional analog channels in&out at sample rates up to 192kHz and 16 channels at 96kHz, which to my mind sounds rather good.

On the other side, some have claimed that the converters in the RME Babyface are better (higher quality, better sounding) than the Lynx converters. Sure, they're just voicing their subjective well- or ill-informed opinions.

In any case, instead of getting an expensive multi-channel converter with USB interface (the Lynx Aurora 16) I'm thinking of connecting a good preamp or channel strip to the Babyface and bypassing its own preamps. Something like an SPL Frontliner for example... Any thoughts on that?

For hybrid, I wouldn't waste time or money on a USB interface, FireWire is the better of the two. I tried fire in my hybrid system and it worked but I quickly dropped it and got aes ebu

Personally, I think you should forget hybrid. It's not a budget solution. Do it right or don't do it at all. There are a lot of opinions from people who have never used the gear, in times of no money and special order. Lot of BS floating around, and a lot of hear say. How could most people even know anything about all this when the cabling alone is a few thousand. And they claim to know the sonic differences between ITB and OTB.

My Internet connection keeps dropping, fishing on a boat lol
ithink you would benefit greatly with some nice outboard gear to improve your vocal chain and invest in something like the Apollo

Yeah, I think I'll drop the hybrid thing for now. I think I'll get a high quality channel strip or dual mic pre to, like you say, improve the vocals and maybe even the guitar sound could benefit from a little "colour". Speaking of hearsay, have you actually heard the Apollo?smoke I'm expecting it to sound better than the Babyface pre's but it's overkill for me to have 4 preamps—I simply won't use them. At most I'll use two. A good-quality dual preamp seems like the most natural choice. Over at Gearslutz I read and listened through a comparison between API 512c, Great River MP-500NV, Grace 501, FMR Audio RNP, Golden Age Pre 73, Behringer Ultragain and the Art Tube MP. Quite interesting. I liked API and Grace best actually. The others either added too much character or were not clean enough. Also I wonder why most people like API best. Is it because it is the "best" or is it because they recognise the sound from countless recordings and in their mind associate the API sound with successful and famous recordings?

To think that I've spent all this time and energy to try to understand hybrid and put together a workable rig, instead of actually making music... and ending up not going hybrid after all. I don't know what to think of that, really. Not that I haven't enjoyed the journey and learned a lot—I have. It just seems that it was "all in my head" and now that I've thought it through I can leave it and go on with the original plan. It's kind of funny really! I feel like an Indian yoga master who experiences a scenario in his head which other people would have to experience physically to get the same experience.

So, lately I've been looking at the SPL Frontliner. It's actually available at the dealer in town so I could actually go and listen to it, as well as the Apollo.

Smart move., if all you need is two channels. Lavry ad11 is an awesome choice for high quality USB interface, converter and preamp. Then adding something like API or great river would be a really complete package. You would have top end chain for colour and clean,

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But the Apollo sure looks like a great system too. You sound like you are on the right path. Auditioning gear is the best way to find out what's right for you. Keep in touch.

Cheers!

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Yes, those suggestions of yours seem much more practicable for me. The Lavry AD11/DA11 combo looks like it could simply replace the Babyface, right? Tell me a little bit about how you use them. It has only one preamp, right? Is it suitable for plugging guitars into it, as well as vocal mics? But it has analog inputs so could I plug another preamp into it if I wanted?

Sure, they're pricey—and I'd need both boxes, right?—but at this stage let's not rule out anything. We haven't so far!

The AD11 has two excellent preamps and the stereo converters are stellar. You plug it in (USB) and it works. It uses ASIO4ALL . The DA11 is awesome. Its stereo and it works. I use these for mastering and recording acoustic music. I use the DA11 for all my DA coming back as mastered from the DAW including all my online audio. Lavry is in a class of its own. The Blacks, which is part of Lavry's stereo products like the AD10, AD11, DA10, DA11 and MP10 are used by a lot of audio files mastering vinyl including other apps like high end mastering and tracking. They have tons of headroom, and are ideal for two track stereo applications. .

Prism Orpheus is another stellar converter I use and it is like Lavry but 8 channels, 4 preamps and two headphone outs. Its new to me so I'm just becoming familiar. I bought it for larger acoustic work and mastering to a second computer. The preamps are equally as good as Lavry and the converters are stellar. Its firewire and thunderbolt ready. You can find these occasionally used for around $3000 USD. This is an awesome product.

Orpheus has line, microphone and instrument inputs, selectable RIAA Equalization for turntables, a built-in premium-quality monitoring mixer for each output providing for performer foldback and surround monitoring, concurrent ADAT and switchable S/PDIF or AES3 digital I/O plus support for outboard MIDI devices. Microphone inputs include MS matrix processing. High-performance digital sampling-rate conversion (SRC) is available for digital inputs or outputs. Dual headphone outputs are provided each with its own volume control, both monitoring the same headphone feed.

This would be an excellent choice and it has good resale value. Should you ever go hybrid, you could use this in a 8 channel hybrid system although I'm not sure how tight it would be for latency but the sound quality would be amazing.

Either will accept external pre-amps.

I don't know what to suggest for you. I buy the things I do because I see them as extended gear to a greater chain that I incorporate for mastering or tracking. I am really into using a second computer for mastering. I do not bounce down on the same computer anymore. So, both these converters serve as the mastering system so they are worth it for me.

Re Babyface: RME preamps are useable and their converters are good enough to excellent. I would guess the converters on this to be equal to Lynx Aurora. The pre amps , not so good.

If I was mostly focused on composing and not so much on high end sound quality , any mid level converter will do. If I was wanting the silk highs, tighter bass and saw the need to use something like the Blacks or Orpheus down the road for a mastering option like I suggest, its a no brainer to invest in quality like this.

I have a feeling the Apollo would be a lot of fun and do it all for you.

Lavry Blacks are the ultimate 2 track combo.
Prism Orpheus, more versatile and equally great as Lavry.
Apollo, choice for all round ITB project studios.
RME Babyface, okay for newbies, home/ project.

I've found a solution to my plans. I've decided to initially get the Orpheus (the Apollo is also possible in the configuration I'm thinking of—it's not quite out of the loop yet). Then, expand with the Dangerous D-Box for summing and monitoring. Yes, it's going to be only 8 analog channels, but whatthehey, I'll deal with that. "A challenge", as the say. I know the Orpheus is an expensive solution but I've read up on the unit a lot lately and believe that it will last me a long time and be more than adequate for my purposes. Ultimately, the Lavry combo was non-expandable with its 2 channels only and I would've had to get a separate DI box to plug a guitar into it.

What do you think about the Orpheus/Dangerous D-Box combination?

On the Prism website there's a feature article with a producer who works in a similar way I do and I think it would suit my workflow.

Also, I read some suggestions to bypass the digital volume knob on the Orpheus to increase sound quality and I assume that duty can be assigned to the D-Box.

If 8 channels proves to be too few, maybe I can work around that issue by summing in several stages instead of all-at-once, if you know what I mean. Come to think of it, is that even possible? Summing in stages?

Serpentarius, post: 393568 wrote: I've found a solution to my plans. I've decided to initially either get the Orpheus or the Apollo. Then, expand which ever unit I get with the Dangerous D-Box for summing and monitoring. Yes. it's going to be only 8 analog channels, but whatthehey, I'll deal with that. I know the Orpheus is the most expensive solution but I've read up on the unit a lot lately and believe that it will last me a long time and be more than adequate for my purposes. Ultimately, the Lavry combo was non-expandable with its 2 channels only and I would've had to get a DI box to plug a guitar into it.

What do you think about the Orpheus/Dangerous D-Box combination?

On the Prism website there's a feature article with a producer who works in a similar way I do and I think it would suit my workflow.

Also, I read some suggestions to bypass the digital volume knob on the Orpheus to increase sound quality and I assume that duty can be assigned to the D-Box.

This would be an awesome system. thumb
I've not heard about the digital volume knob though, where did you read this?

NOTE: Lavry has something new coming soon. I have know idea what it is but I would wait on investing in anything until we know what it is.

Did you see, I edited my last post: If 8 channels proves to be too few, maybe I can work around that issue by summing in several stages instead of all-at-once, if you know what I mean. Come to think of it, is that even possible? Summing in stages?

Regarding the volume knob on the Orpheus, I read that over at Gearslutz I think. It might be just people having a discussion based on subjective hearing:

Another thing I've noticed about the orpheus is that things start sounding better when the digital volume control is bypassed, and analog attenuation is used instead!
That goes for either driving the outboard or monitoring.

(Dead Link Removed)

Lavry coming out with something new sounds interesting. The risk is you always wait for "some new thing" to come out, ending up not getting anything! There's always something new coming out, right?

Yes, something like that is very possible. Like you would reamping a guitar as an example, and re record it. But keep in mind, the less you go back and forth, the better. Once I'm OTB, I stay there until its finished and ready for mastering on a second recorder.

The volume knob sounds a little strange to me. There is a lot of BS over there. I'll look into that.

re lavry, I'd wait a bit, ya never know if this could be the ticket. But what you are thinking a bout now, would be excellent indeed!

audiokid, post: 393575 wrote: the less you go back and forth, the better. Once I'm OTB, I stay there until its finished and ready for mastering on a second recorder.

Yes, of course that's the ideal way. But I'll settle for the second best scenario, with superior sound quality and learn to work with it effectively. Eventually, I'll upgrade if there's need for it.

Yeah, I'm not too worried about the volume knob thing. For me this investment will most likely mean such an extreme improvement of sound quality that I won't have to worry about the small esoteric issue of the Orpheus volume knob!

The Orpheus is sooooooooooooo sweet, you are going to be in sonic heaven. The improvement over what you have now will be very obvious.

Cheers!

I've just been looking at this device and I wonder how this type of unit differs from a summing mixer?

  
[[url=http://[/URL]="http://igsaudio.pl/…"]IGS Audio - Professional Studio Equipment - Globus[/]="http://igsaudio.pl/…"]IGS Audio - Professional Studio Equipment - Globus[/]
It obviously doesn't have any insert points and no mono/stereo switch for the channels.

So what's the difference between a summing mixer and a summing amplifier? I assume it performs the summing of DAW stems anyway, but does it do it in stereo or mono? Are you then supposed to set that function in the DAW?

Attached files

Mixing Practice

By the way, I just mixed and mastered this singer/songwriter type song as a mixing/mastering excercise:

;)
These are the raw WAV files.

Here's my version mkI:

[MEDIA=soundcloud]serpentarius/visa-mixologi-practice

Not a very complex song to mix and master, but nevertheless a worthwhile thing to do for practice.

What do you guys think?

Serpentarius, post: 393944 wrote: I've just been looking at this device and I wonder how this type of unit differs from a summing mixer?

  
[[url=http://[/URL]="http://igsaudio.pl/…"]IGS Audio - Professional Studio Equipment - Globus[/]="http://igsaudio.pl/…"]IGS Audio - Professional Studio Equipment - Globus[/]
It obviously doesn't have any insert points and no mono/stereo switch for the channels.

So what's the difference between a summing mixer and a summing amplifier? I assume it performs the summing of DAW stems anyway, but does it do it in stereo or mono? Are you then supposed to set that function in the DAW?

You've got me at my cottage again so internet access is slow, thus, researching more on this or downloading isn't easy right now.

You don't need inserts like the MixDream has but its definitely really nice. To over come that. all you do is put gear between your in's or outs from the DA or AD depending on where you are going, what you are doing. Example, stem DA 1 & 2 > Transient Designer > summing box .
Check out the Folcrom, where you use a preamp to add colour. This could be similar. The Folcrom and a nice Neve flavour (great River MP 2NV) or API micpre would be awesome. Then you can also use the Micpre for tracking. Double purpose!

I don't know for certain but having the mono switching on the analog side produces a bigger mono. I have no technical explanation, its just a hunch.