Hi,

Does anybody know the maths ( or where I can find it ) behind layering audio files on top of each other?

Cos I have this idea:
In cutting up drum loops or beats extracted from a song, say to take out a snare drum or kick etc but most of the time it will have a hi-hat or something on top of it.

Would I be correct in saying that the ideal control room environment would be one in which the sound is effectively projected through the mix position and then absorbed so that only the origional signal is heard by the engineer? In this case would any treatment really be required at the front of the room other than angling walls and ceiling to avoid reflections into the mix position?

Hello-
This is an incredible site by the way-1st time here.

I have been asking this quesion on some other websites and getting a ton of helpful info but each answer has been confusing me more.

As you all know, we here at RO have been hard at work putting the Recording.Org E – Magazine together. We would like to invite you to take a look. Thanks, Kurt Foster / RO E Magazine Reviews Editor

http://www.recording.org/e-mag/

I am doing a project paper on backmasking and submliminal messages in music, can any one offer insights where back masking originated? i heard that the beatles have started it off with one of their songs stating "die paul" or somthing to that effect, i just came to this site by accident before but never posted. I tred to decipher some tracks like the Led Zepplin "stairway to heaven" stanza.

Should I Build my studio setup around rackmont gear, or are plugins of high enough sonic quality to do the job?

I'm trying to increase my productivity. People give me 120 minute cassettes to transfer to CD and I spend two hours twiddling my thumbs waiting for the audio to get recorded on my PC before I can do any work on it. I know that there are high speed dubbing cassette decks out there. What I want is a deck that can send that high pitched garbled fast audio to the outputs.

I searched on this but couldn't find it. Hope this isn't a rehash.

How does one measure a plugin 's quality? If the hardware equivalent is digital does it really matter? With hardware FX ADDA conversions doesn't that just add to the problem?

I've heard that there are physical groove reasons why the bass must be dead-center for vinyl pressings.

I, like everyone, dig the punch of a mono bass in lock-step with a kick, but...

There are times, though, that I run across either the urge or the need (!) to do a *really* wide bass either split-delayed l/r @10ms, or actually 2 different hard-panned bass sounds.

I am very new to this as a necessity to help record a budding country band both live and in "studio." I am starting with a personally-built comp with:
ASUS mobo
PIII 866
384M memory
20G WD HD
and MOTU 1224 SC (just installed)

running:
XP Pro
Cool Edit Pro.