very nice. i would prefer hearing the "pitchy bits" than something that's been auto tuned to death ...

this reminds me of "Africa" .. by Toto. i like that the bass is well defined on small speakers ... it's got that "Foster bump" .... lol!

Thank you Kurt :). I was so worried it wasn't going to translate to other systems, since I don't have anything else up in the studio at the moment. I tried to trust the mono button on the RME totalmix.

Kurt Foster, post: 423916, member: 7836 wrote: this reminds me of "Africa" .. by Toto

Indeed. I would use a timed 1/4 delay and 5 tails more than a verb. very nice. It sounds like your studio is going to do it for you, Tony!

Like you have on the key solo. I would use the same setting for the vocals.

audiokid, post: 423920, member: 1 wrote: It sounds like your studio is going to do it for you, Tony!

That's what I wanted to hear :D AWESOME!. I did the bounce using real time instead of offline. By doing that it used the outboard gear. It's the one step I wasn't too sure about, and decided to trust my gut. I couldn't see how it would use them other wise. So, total plugins went WAY down.

Makzimia, post: 423921, member: 48344 wrote: So, total plugins went WAY down.

Exactly.

Makzimia, post: 423921, member: 48344 wrote: I did the bounce using real time instead of offline. By doing that it used the outboard gear.

Good, each of us arrives at that through what we have. You are lucky to be uncoupled, which I think this is what you were sort of saying about the bounce, yes? You let the hardware do the bounce? You captured your higher SR at the upload SR which saved you from having to bounce ITB again, correct?

audiokid, post: 423923, member: 1 wrote: You captured your higher SR at the upload SR which saved you from having to bounce ITB again, correct?

Initial bounce was done out to Lexicon and the "master" chain yes, and back in on 1-2 (SSL X-Patch) then out on 31-32 as my master. I did however not get it loud enough that way, this time. I then imported the bounce into a fresh session, gave it some neve 88rs light treatment and precision k both UAD plugins, and rebounced out of 31-32 bypassing logic pro x master bus again. I'll get better as I go along. I just wanted to make sure what I heard is what others are hearing. You have NO idea how happy that makes me at this point :D.

Like we discussed, I was sure this was going to give me what you love too.

Cheers,

Tony

Makzimia, post: 423924, member: 48344 wrote: I did however not get it loud enough that way, this time.

Maybe this is helpful, maybe not.

I don't capture loud.I still keep it around -10 peak
Perhaps you can import that bounced session and attached a limiter on the 2-bus like the Pro L or an L2 as a few examples and do a nice volume boost like this. I will chop at least 2db off the top, maybe a little look ahead comp.

Makzimia, post: 423924, member: 48344 wrote: I did however not get it loud enough

aww hell! it's plenty loud imo.

Kurt Foster, post: 423926, member: 7836 wrote: aww hell! it's plenty loud imo.

Hehe, yeah, it is now, I wasn't even hitting 75db on my first time around (at my normal settings on the dangerous monitor st). It's actually "mastered" to US standard for 24 LUFS now. I like to keep my dynamics, which I did, and get a nice volume available for it at the same time :).

audiokid, post: 423925, member: 1 wrote: Perhaps you can import that bounced session and attached a limiter on the 2-bus

That's what I did :). I was referring to the first bounce being too low. The one you listened to was because I did as you suggest, except I used the Neve 88rs (UAD) channel strip (can be used a master bus piece and has limiter).

hey,
just to clarify from our last phone conversation and for those following some of my content on the two DAW system,
As I mix into the master on the second DAW, I have a limiter strapped onto the master bus. Everything is real time. This makes it possible to mix an entire session (96k to 44.1) between two DAW's and hear how it with sound in the exported state before its mastered and printed. I never need to bounce or import.
From what I understand with Sequoia 13's next update, I will even be able to monitor what an mp3 will sound like rendered with a limiter before its printed, then compare both the live or exported versions. Being able to calibrate your entire gain stage in one single pass is crazy cool.
Even the volume is matched to the export of the final master, all in one single pass.

never the less, its sounding really good Tony. (y)

audiokid, post: 423929, member: 1 wrote: Even the volume is matched to the export of the final master, all in one single pass.

never the less, its sounding really good Tony. (y)

Thank you sir. Now that I know it actually works, I can do the same as you next time around :P. I just wasn't sure.. and I was burned out on mixing the song, worrying if I got it right.

Thank you all so much for listening, and Chris, what can I say, thanks for the talk through with me on my setup.

Cheers,

Tony

audiokid, post: 423929, member: 1 wrote: From what I understand with [[url=http://[/URL]="http://pro.magix.co…"]Sequoia[/]="http://pro.magix.co…"]Sequoia[/] 13's next update, I will even be able to monitor what an mp3 will sound like rendered with a limiter before its printed, then compare both the live or exported versions. Being able to calibrate your entire gain stage in one single pass is crazy cool.
Even the volume is matched to the export of the final master, all in one single pass.

i will admit that is cool. i hope someday that bit of codeing will trickle down to the more inexpensive DAWs.

Kurt, with the exception of the MP3, You can do this with any two DAW system. This is why I love this so much. I don't think any one DAW system rivals this. Radar whatever. The whole idea here is how 2 DAW's allows us to hear how we are summing the print better. And its so scalable to your workflow. At least that's how I hear it.

I know my rig isn't cheap, but I know we also don't need my rig to do this. Most DAW's are good enough. Where they lack is in the monitoring and 2-bus. This solves a big chunk of this.

the mp3 was what i meant.

Okay,

I haven't use it yet but its supposed be be happening now. Its not that big a deal to me, but it sheds light on how cool Sequoia is I guess. MP3 are going to be obsolete within no time. So, its just a hook right now.

Kurt Foster, post: 423916, member: 7836 wrote: it's got that "Foster bump"

Leave it to the inventor of the process to refer to it incorrectly.

It's the"Foster PEAK" ... dumbass. (LOLOL)

To Tony... yes, very Toto-ish. Very nice. But you gotta re-sing those harmonies, brother... very pitchy.

I'm a bit distracted by the bass guitar. It's a very cool part, but it falls out of the pocket here and there, and on a song like this, the bass needs to be tight. Tighter than a virgin's...uhm... ponytail. ;)

DonnyThompson, post: 423962, member: 46114 wrote: To Tony... yes, very Toto-ish. Very nice. But you gotta re-sing those harmonies, brother... very pitchy.

I'm a bit distracted by the bass guitar. It's a very cool part, but it falls out of the pocket here and there, and on a song like this, the bass needs to be tight. Tighter than a virgin's...uhm... ponytail. ;)

Thank you Donny, appreciate being told what I need to do, honestly, as stated at the beginning, I knew that (vocals). Bass... well, I blame Mr Yamaha LOL. Seriously though, I can tighten the bass at some point yes. I just really really wanted to prove to myself, I could mix properly when I could finally hear what I had done properly. I have spent so many years mixing partially deaf.

I'll post more as I get into it. Today I solved a puzzle which took most of my day. I'll update that in my other thread :D.

Cheers,

Tony