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rembrown 

Age: 28
Joined: 20 Jul 2008
Posts: 28
Posted: Wed Aug 19, 2009 4:44 pm   

Jarp2600 wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.


No, you don't, otherwise you wouldn't say such things. The 96/24 converters and 32bit float processing of a hi-quality digital console (console, not 'thing') like a DigiCo or M7CL or sth, will probably display the 'analog sound' of JMJ's synths ways more transparent than a standard Midas console. To come close to JMJ's audio wishes, you'll need some SSL/NEVE/Fairlight console or sth.
Second, I don't know if you have ever FoH'ed an electronic music show, but I guess you should try doing one with an analog console. Then you'll rather quickly discover the advances of a digital mixing console, I guess. Good luck with changing the routing, EQ and insert/send settings after each song! :D


I know that the quality of the digital "consoles" are that high these days and that it sounds almost analog. But then still it is not analog so you never have that analog feel that you have in an analog mixing console. And i know the routing systems and all the effects incl. the EQ are much easier use in a digital console, still you haven't that analog feel that you have with an analog mixing console. But anyway, I didn't say that it was a bad choice.

But ok, let's go ontopic again.
_________________
My stuff:

Acer Extensa 5620G
HP Paviljoen
Roland EM-20 Creative Keyboard
Roland SH-201
E-MU XBoard 49
Cubase 4
Propellerhead Reason 4
And al lot of VST & VSTi Plugins.
 
Jarp2600 


Age: 28
Joined: 14 Jul 2006
Posts: 6957
Location: Apeldoorn, NL
Posted: Wed Aug 19, 2009 4:50 pm   

rembrown wrote:
Jarp2600 wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.


No, you don't, otherwise you wouldn't say such things. The 96/24 converters and 32bit float processing of a hi-quality digital console (console, not 'thing') like a DigiCo or M7CL or sth, will probably display the 'analog sound' of JMJ's synths ways more transparent than a standard Midas console. To come close to JMJ's audio wishes, you'll need some SSL/NEVE/Fairlight console or sth.
Second, I don't know if you have ever FoH'ed an electronic music show, but I guess you should try doing one with an analog console. Then you'll rather quickly discover the advances of a digital mixing console, I guess. Good luck with changing the routing, EQ and insert/send settings after each song! :D


I know that the quality of the digital "consoles" are that high these days and that it sounds almost analog. But then still it is not analog so you never have that analog feel that you have in an analog mixing console. And i know the routing systems and all the effects incl. the EQ are much easier use in a digital console, still you haven't that analog feel that you have with an analog mixing console. But anyway, I didn't say that it was a bad choice.

But ok, let's go ontopic again.


I wonder if you would hear the difference. :wink:
_________________
"If you can't fix it with a hammer, you've got an electrical problem"

My soundclick * Myspace

Audio Engineer at Fast Forward Studios
 
GeeJee 
The GUV'NOR


Age: 33
Joined: 28 Mar 2006
Posts: 18852
Location: Zwolle, The Netherlands
Posted: Wed Aug 19, 2009 8:14 pm   

rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.


Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D
_________________
Me, I'm the Guv'nor, not yer regular cheese grater! SO DON'T GIVE ME NO BACK TALK! :mrgreen:
 
rembrown 

Age: 28
Joined: 20 Jul 2008
Posts: 28
Posted: Wed Aug 19, 2009 11:05 pm   

GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.


Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D


You/Jarp got a point there about the warmth. BTW the D5 Live have a 96/24 AD-DA converter.
_________________
My stuff:

Acer Extensa 5620G
HP Paviljoen
Roland EM-20 Creative Keyboard
Roland SH-201
E-MU XBoard 49
Cubase 4
Propellerhead Reason 4
And al lot of VST & VSTi Plugins.
 
Jarp2600 


Age: 28
Joined: 14 Jul 2006
Posts: 6957
Location: Apeldoorn, NL
Posted: Thu Aug 20, 2009 12:42 am   

GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.



Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D

D5 is standard 44.1 and 48. 96khz is optional, I never heard of a 192 clock capability for those... So I guess Courieux used the 96 one.
Could it be that you mixed it up with the PT HD system? Those are indeed in 192/24. :)
Btw, the difference between 96k and 192k is practically not to hear. Since the human ear can only registrate up to 20khz (perhaps 30, for the people who say 'sensing' ultrasone sound), so the different Nyquist frequencies between 48 and 96 kHz won't really make sense imho... :)
_________________
"If you can't fix it with a hammer, you've got an electrical problem"

My soundclick * Myspace

Audio Engineer at Fast Forward Studios
 
GeeJee 
The GUV'NOR


Age: 33
Joined: 28 Mar 2006
Posts: 18852
Location: Zwolle, The Netherlands
Posted: Thu Aug 20, 2009 1:40 am   

Jarp2600 wrote:
GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.



Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D

D5 is standard 44.1 and 48. 96khz is optional, I never heard of a 192 clock capability for those... So I guess Courieux used the 96 one.
Could it be that you mixed it up with the PT HD system? Those are indeed in 192/24. :)
Btw, the difference between 96k and 192k is practically not to hear. Since the human ear can only registrate up to 20khz (perhaps 30, for the people who say 'sensing' ultrasone sound), so the different Nyquist frequencies between 48 and 96 kHz won't really make sense imho... :)


True, but since you want to capture the character of the analog instruments, your resolution can't be high enough. :D

As for the studio recording, yes I was referring to PT HD ;)
_________________
Me, I'm the Guv'nor, not yer regular cheese grater! SO DON'T GIVE ME NO BACK TALK! :mrgreen:
 
rembrown 

Age: 28
Joined: 20 Jul 2008
Posts: 28
Posted: Thu Aug 20, 2009 10:23 am   

GeeJee wrote:
Jarp2600 wrote:
GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.



Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D

D5 is standard 44.1 and 48. 96khz is optional, I never heard of a 192 clock capability for those... So I guess Courieux used the 96 one.
Could it be that you mixed it up with the PT HD system? Those are indeed in 192/24. :)
Btw, the difference between 96k and 192k is practically not to hear. Since the human ear can only registrate up to 20khz (perhaps 30, for the people who say 'sensing' ultrasone sound), so the different Nyquist frequencies between 48 and 96 kHz won't really make sense imho... :)


True, but since you want to capture the character of the analog instruments, your resolution can't be high enough. :D

As for the studio recording, yes I was referring to PT HD ;)


I agree with this. BTW Jarre used on PT 96/24 (that's what he said in a interview with SoS).
_________________
My stuff:

Acer Extensa 5620G
HP Paviljoen
Roland EM-20 Creative Keyboard
Roland SH-201
E-MU XBoard 49
Cubase 4
Propellerhead Reason 4
And al lot of VST & VSTi Plugins.
 
GeeJee 
The GUV'NOR


Age: 33
Joined: 28 Mar 2006
Posts: 18852
Location: Zwolle, The Netherlands
Posted: Thu Aug 20, 2009 12:48 pm   

rembrown wrote:
GeeJee wrote:
Jarp2600 wrote:
GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.



Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D

D5 is standard 44.1 and 48. 96khz is optional, I never heard of a 192 clock capability for those... So I guess Courieux used the 96 one.
Could it be that you mixed it up with the PT HD system? Those are indeed in 192/24. :)
Btw, the difference between 96k and 192k is practically not to hear. Since the human ear can only registrate up to 20khz (perhaps 30, for the people who say 'sensing' ultrasone sound), so the different Nyquist frequencies between 48 and 96 kHz won't really make sense imho... :)


True, but since you want to capture the character of the analog instruments, your resolution can't be high enough. :D

As for the studio recording, yes I was referring to PT HD ;)


I agree with this. BTW Jarre used on PT 96/24 (that's what he said in a interview with SoS).


But his studio technician told me otherwise. :nod:
_________________
Me, I'm the Guv'nor, not yer regular cheese grater! SO DON'T GIVE ME NO BACK TALK! :mrgreen:
 
rembrown 

Age: 28
Joined: 20 Jul 2008
Posts: 28
Posted: Thu Aug 20, 2009 12:59 pm   

GeeJee wrote:
rembrown wrote:
GeeJee wrote:
Jarp2600 wrote:
GeeJee wrote:
rembrown wrote:
Jarp2600 wrote:
Good choise, I like working with those D5's/D7's! :)
Especially for a concert of a perfectionist like Jarre, working with such a console is ideal, since you can save each track's settings. When you are on tour with a band, that makes things a lot easier.
Downside of the console is, that due to the big screens and graphic displaying of every setting you change, that you sometimes start mixing with your eyes, instead of with your ears without noticing...

@ Rembrown: Don't judge things you don't know too much about.


Uhm Sorry I'm in this business I know what i'm talking about. But i didn't say that the D series are bad, even there quiet good. I like working with these things too. I'm talking about the analog vision of Jarre and that I don't understand that he used a digital Mixing console to bring the analog synth sound to the people.



Analog synths have their own sound, and that's why JMJ brings them on stage, agreed?
If he would use an analog console, it wouldn't be practical, like Jarp pointed out, but also it would color the sound like hell. I understand you think that analog console would add extra warmth (it might, but there's plenty of it already)- but if you want to preserve the original warm sound of these old ladies, you take either a console with ultra-high quality D/A convertors (are they 96/24, Jarp? I know he used 192/24 for the LIYLR album) or STFU :D

D5 is standard 44.1 and 48. 96khz is optional, I never heard of a 192 clock capability for those... So I guess Courieux used the 96 one.
Could it be that you mixed it up with the PT HD system? Those are indeed in 192/24. :)
Btw, the difference between 96k and 192k is practically not to hear. Since the human ear can only registrate up to 20khz (perhaps 30, for the people who say 'sensing' ultrasone sound), so the different Nyquist frequencies between 48 and 96 kHz won't really make sense imho... :)


True, but since you want to capture the character of the analog instruments, your resolution can't be high enough. :D

As for the studio recording, yes I was referring to PT HD ;)


I agree with this. BTW Jarre used on PT 96/24 (that's what he said in a interview with SoS).


But his studio technician told me otherwise. :nod:


Ok that's strange? 'cause on the DVD label there standing that it was recorded with 96/24 (that's what i remember).
_________________
My stuff:

Acer Extensa 5620G
HP Paviljoen
Roland EM-20 Creative Keyboard
Roland SH-201
E-MU XBoard 49
Cubase 4
Propellerhead Reason 4
And al lot of VST & VSTi Plugins.
 
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