Hi boys and girls,
Hope you are all well !
Yet another video about Magix products...
This one will surely help to had some mojo to tracks or masters.
Let me know what you think !
The invention of digital audio recordings liberated sound engineers in many ways which were not possible in the analog era. Even with all the tools at one’s fingertips, musicians and engineers sorely missed the sound and sonics of earlier recordings. The magic that the recording mediums imparted by default and one which was taken for granted.
Hi Kurt. :)
I was reading the latest issue of TapeOp (the actual magazine version) this week, and saw one of the letters to the editor was from you - I'm assuming it's you.
Very cool comments regarding analog. I can totally see why you read the mag.
Anyway, just wanted to tell you I saw your comment. Happy Thanksgiving!
Years ago I was fortunate enough to record a few songs using a professional reel to reel machine. It was an Otari MTR-90 2 inch 24 track. I have since used high quality converters from RME, Lynx, and Apogee. Although, they were all extremely adequate "especially the Lynx", they never seemed to give me the same realistic top-end or BIG sound that the Otari recorder did.
i am wondering if any one is still using tape, and how you have it intergrated into your set up and what you use it for that makes the effort worth while.
also i am after views from people who were not around when tape was king but has recently come across it, what are your thoughts ?
Is anyone familiar with this board enough to help me?
I want to record 16 tracks out from the balanced XLR outs.
1-8 are "GROUP O/Ps" and 9-16 are "TAPE O/Ps", but they're paralleled.
I know how to route 8 mic inputs to groups 1-8. Is there a way to simultaneously route another 8 to the "TAPE O/Ps" 9-16? Or do they always carry what has been routed to the Groups 1-8?
Why is this that way? Why two sets of the same 8 outputs?
I need to buy some good quality casette tapes and i heard i can buy some from bulk warehouses or something like that...give me some good ideas please.
hey y'all figured I'd put this out there. I been filling in holes in my software for quite some time and I got onto the task of tape sims/saturation plugs.
I ended up getting 3, heavy, medium, and subtle. Now I'm not really sure if these sound like tape, and I'm not concerned that they do or don't. I look at these as kinda like a pre-eq curve, dynamic saturation, and compressor packet.
Im new in this mastering realm.
Should replicated CDs sound different than the DDP master? and if so, how different?
What do you answer to a client that was happy with the final master but unhappy with the replicated CDs? The replication house say they did quality checks and everything was performed "as always".
How do I know if I did something wrong? How do I prove the replication house did?
Whats the procedure to null test the DDP against the replicated CD?
Lately, I have been trying to learn more about tape. I grew up listening to albums tracked to tape, but have only worked professionally in the DAW environment.
There is a craze with tape plugins in the last several years - including Universal Audios Officially endorsed Studer A800 mkIII plugin, as well as u-he Satin and Slate's Virtual Tape Machines.
I happen to own these, and enjoy using them on a case by case basis, as they all have their own "flavor".