Re: ADAT or other older multitrack, transfer to computer?

On 9 syys, 13:34, Mike Rivers <mriv...@xxxxxxxxxxx> wrote:
On Sep 9, 12:15 am, DeeAa <de...@xxxxxxxxxxxxxxx> wrote:

Thing is that you can SEE and FEEL the signal paths if you have real
hardware, but you can't do that with a computer-based system. You can
see representations of connections, sure, but you can never be sure
where you're losing the signal if it doesn't get to where you expect
it.

I get the idea, yeah...but to me it's more simple on my DAW. I have 8
inputs, I plug in the mic, and if I only have Cubase on, I see the
audio meter move when I knock on the mic. I don't see how it could be
more direct and simple really - plug in, and you see it's active.

Of course, it requires that the hardware is installed properly in the
beginning, so that you have a base to start working with. But after
that it's just plug in and go, save under new name for each song.

It's easy to move a hardware control and hear an instant change (if
you move the right control) but with software, you often need to build
the control first (or select it from a menu or template) and make its
connections. And there's almost always a small time lag between when
you move the control and hear a change, so it's difficult to "sneak
up" on the right setting. But some people love the resolution with
which a control can be set and the ability to reset it accurately. If
you really want to boost 2.374 kHz by 4.28 dB, you can do that - every
time. On a hardware mixer, you trun the controls until you like the
sound and if someone asks "What are your EQ settings on that guitar?"
your answer is "Oh, I dunno, a little boost around two and a half
kilohertz."  Not very satisfying to someone who wants to make his
guitar sound just like yours (HAH!)

Yeah this I can understand. However I like to be able to freely shape
the curves on EQ with a mouse - while listening - instead of finding
the frequencies by ear alone, Q values etc. Plus I can have several
settings and A/B them with just a click.

But I understand in some ways turning knobs can be more immediate
sometimes.

So why do all of that? People with hardware work differently. They
record things that they want to hear in the finished product and most
of the work is done before final mixdown. Why edit when you can play
it right or punch it in? Why do the mix again when you have it right?
You can work that way with a DAW, but most pepole don't, because they
don't have to. And they get into all sorts of detailed edits, volume
envelopes, plug-ins, and never-ending mix sessions.

Ah, that is very true...when you can infinitely tweak it, you also
tend to, and never finish it :-)

With a DAW on the other hand, all you need is load the multitracker,
plug in the mics and all you need to worry is not to overload inputs.
Just press record.

And then what have you got? A jigsaw puzzle of audio scraps!

Well, I dunno...I think the audio graphs are pretty simple, like Lego
parts or something. I find it extremely difficult to try and figure
out track bouncing on HD recorders, though, or just keep track of
which session/track is which. Like on my Fostex, I had to write down
stuff like track 18 project 048, at 2:30 guitar comes in etc...on a
DAW you see it all in one glance on a clear timeline and just jump to
where you want to punch etc.

And I think there's nothing as liberating as putting one or two mics
in front of a good musician or band and say "Take One!" and then move
on to the next song.

Yeah, sure...but I'd still rather have them files on my DAW so I can
see the dates, times, and project names etc. right there and never
lose 'em.

Cheers,

Dee
.

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