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I received the standard promotional emails of an online shop I sometimes buy stuff from: 57% off albion…
Is it a good or bad idea to pick up that deal? According to critics in general (i.e. SoundonSound for example), it appears like a great tool for cinematic compositions (apart for soloing).
On the other hand it is 4 years old, so I guess tech support will be non-existing and most importantly the sounds and articulations might have been over-used: Would music tracks composed with it have more chances to get rejected for a reason like ‘already heard that a million of times’?
Oh, and my first set up was also an
Atari 1040 STE with Cubase 1.0 , I bought second hand,
+ a Korg M1 + a Fostex DMT7 digital 8 track HD recorder + A SONY DAT tape machine for backups.
Souvenir.. souvenir… 🙂GM, I want to hug you !!!
It’s been a week that I have been torturing myself looking everywhere for a plug that would do some Sidechain controlled EQ ducking and that would work on DP8 (MOTU actually didn’t know of the issue and then confirmed to me that there was a bug when using Alloy2 in Windows – the sidechain input not appearing in the plugin window – it will be solved in a future update of DP9 – glad I could contribute in getting this great DAW better :-))
Toneboosters got just what I needed with their Dynamic EQ, the TB_FIX4, and for 20$, stopped my nightmare with a very versatile plugin that does the job and passes DP’s scan. I demoed it, and then it became an Instabuy! The visual feedback is informative but a little slow to refresh, however combined with the ears, it works out. The plug in has all that is needed and more (6 bands all controlled by a Sidechain can become quite creative!). I’ll probably check their other products too in the future.
Enjoy a musical summer and thanks again!
What a great post Denis!
Switching central DAW from Reason to DP, I am currently building up my VST arsenal, so many thanks for sharing this!Hello Michael,
Yes, I agree with you, that is one of the first thing I did when I fired up DP for the first times: the Groove 3 training really helped me get started effectively!
Musical Greetings
This thread is so relevant for me these day. I am currently in the middle of a switch and to be truthful, the last few weeks have been quite painful, but necessary: Now I am getting the rewards for my efforts.
I have been using Reason exclusively since Reason 3 (before that I was on a hardware multitrack, Roland VS1680) and never touched another DAW (I had a look at Ableton a few years ago more by curiosity than anything else, and was definitely not convinced – the GUI annoyed me tremendously).
THis past month, I have dived deep into DP8, for access to VSTs and film syncing, and now that I can find my way with this DAW, wow, I am having so much fun! I regret some Reason features (I will probably work on setting up a work flow with Reason as a plugin in DP via rewire), yet, the daily discovery of the new power at my finger tips shows me that it is definitely a good move, especially to produce library music. I can’t wait to release my first batch of tracks made with DP!
That is a great article Art! Thanks. I definitely learned something here.
The slight issue is that 80-85 dB is much too loud for me (The sweet spot according to the article).I mix at 65dB. The product of the intensity (W / m2) and the duration of Mixing session (minutes) must not go above a certain value or 1/ My ears get numb 2/ and the tinnitus can be triggered. So, at 80dB, my session would be pretty short! Although, I have to admit that mixing during a tinnitus crisis gives pretty interesting results, weirdly.
Yet using the curve, I know that at 65dB, I just need to take out a dB or 2 out of the low and highs, when I feel my mix is OK. So that’s a cool thing to know.
Anyway, I still can check if that approach works, as when I am done with a track, I usually have 5 minutes dancing in the studio on it full blast (easy 90dB) before closing the session. (A tradition 🙂 )
Wow! we should be called the hearing loss club lol!
I am of it too after a loud gig in my early thirties. Ear Trauma, severe tinnitus. I even had to stop music for a couple of years. What saved me is my acoustic guitar: it is a sound that would put the ringing at peace, Music saved me 🙂
Now, years later, I’m 100% habituated, thus fine, but have to compensate and always stay conscious that my hearing is different from that of listeners’!
Music saved me, and A/B comparison and spectrum analyzers save my musical life!
Oh and Daveydad: A spectrum analyzer is quite a passive device. You just insert the plug in your mixer strip, and it should be quite straight forward to get the info you need.
On the contrary DI, I think Andrej question is quite relevant. Basically he is wondering about the approach of the customer when looking for a track.
imho, Andrej, both approach exist: case A: Listening to select + case B: reading to listen.
Case A will mostly be an amator that made a nice YT video and is looking for inspiration to what music might fit his vision. Case B will be someone who knows what he is looking for. In that situation, keywords and description will be important. Probably mostly keywords as the potential client will make a search first.
In terms of the grammar, I wouldn’t worry. Libraries are not dating sites! As long as the description is understandable. Just make sure your keywords are spelled correctly so that your track appears in searches!