Reply to thread

Message: [QUOTE="YodaGetsFunky, post: 69162"] Paul, If I can get myself to that price point, I know I would love it. I realize that the price is much more attractive than before, and for a pro studio, I don't see how they can keep from it :), but at this point, after having done the project studio for business for some years, I have only one real goal: to finally record a lot of my own material from way back and that keeps coming, and to occasionally do a project of someone else's that I feel similarly about. That means I can't get the Radar with visions of studio rental paying it off. I may or may not pay it off in the long run with music (CD) sales, but this is the kind of thing that I would do without any guaranty. That means I'm footing my own bill. I have a sizable investment from back to 1978 and earlier, so it isn't like I am going ground up. I've already got an "actual" studio (studio/drum booth/control room, triple glass on windows, and lots of acoustic treatment, etc.) and mixer, outboard equipment, "Ultramation" automation for analog board, instruments going back to the sixties, and a sizable MIDI system in hardware and software. However, I will be needing another computer as a DAW support to the multi-track and to host some softsynths/softsampler. My instrument weakness is in the sample-playback arena. My only real leaning towards sampling is using it as a fancy Mellotron :), and I've not upped from my old S900. I've heard some excellent Rhodes (Real Rhodes) and string samples that are much better than any ROMpler I have, and since I do utilize such sounds, authenticity matters to me. When it comes down to it, as far as the DAW functions go, it has never really mattered to me to be able to do big time slicing and dicing. I'm thinking out load now in order to help [B]myself[/B] get real here. I suspect that when you get down to the way I've always done things, stuff like time stretching and all the heavy DAW functions people do to utilize loops sounds like another world to me. I enjoy some music that does it (I get a big kick out of Fatboy Slim, for instance... creative, fun, and musical) but I have not desire to even try it out. I would like to be able to get twelve backup vocal tracks and sub-mix them to stereo in the digital realm, though, and have those tracks residing comfortably on something like the Radar 24, ready to rock! But when it comes to all these "corrective" things many people seem to spend hours and hours on in "post production" (a term that used to apply mainly to films, not making pop music), if something isn't quite right, I am more inclined to just do it again. However, the one thing I [B]can[/B] see saving lots of valuable time in some situations is something like the Antares pitch correction software/device. If you have a vocalist that has given a perfect performance in every way except for one soar off key note, being able to [B]fix[/B] that note without messing up anything in the process sounds really cool to me. There have been many times that has happened, and punching in one line over and over can be pretty hard for some vocalists. Keeping the feel and the sense of continuity isn't always easy. Really, all I've ever really wanted is a solid twenty-four track machine. Shoot, I don't even want more tracks, because I [B]need[/B] that limitation to keep me from just adding tracks all day. I suffer from bit of track-adder's disease... I just keep thinking of new lines that "go". Do [B]enough[/B] of that, and the phrase, "less is more", starts making a helluva lot of sense. :) So, 24 tracks! OK, I admit it — I wouldn't mind adding maybe another 8 tracks, but not for more instrumental tracks and musical lines. I'd use them as four stereo pairs to utilize Bruce Swedien's suggested trick of running "like tracks" through a pair of speakers and then miking their playback (with a stereo pair of like microphones) from maybe six to eight feet away, in order to "localize" those sounds in the playback room's space. I got that from his video, and having heard the before and after of that technique's use, I was convinced that it sounds [B]really[/B] good. It did wonders for synths and other direct instruments. Even drum machines! So, I'd use two tracks for all things percussion, two tracks for all things synth, two tracks for vocals, and two tracks for guitars or whatever. I'd have to limit it to the 8 unless I had extras left over from the 24. He'd use more, but that's his budget. Thing is, with some planning and careful use of the procedure, I think I could use my old spare 16-bit black face ADAT strictly for room sound sweetening, bringing it into the mix via auxiliaries or playback buses, and use all 24 Radar tracks (or whatever device the Multi-track Faery allows) for "real" tracks, and that would be pretty doggoned OK! I could add tracks all day. What fun! Anyway, back to topic — if I do find myself at that place where my multi-track allotment can cover the Radar 24, I'll be doing [B]handsprings![/B] :) [/QUOTE]

Verification: What month just passed