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CCalandro

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  • Location
    LA
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    Production and Post Production sound

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  1. Good. I've encountered this man twice. Most irritating individual I have ever met.
  2. you have to pay to talk to anybody at avid. I think its $50. There is no technical reason PT11 could not have supported the RTAS format and 32 bit plug-ins. Yes, it might be old bloated code, but it still worked. That is better than not having a lot of those tools at all - which is what we ended up with.
  3. In fact, a few years ago, while avid/digi I/O was required to run pt, I would have said protools was one of the worst options.
  4. For playback almost any daw is fine. If audition does all the things you need (which it does) than it's just as ok as protools. Anybody that says pt is better for playback than most any other daw is full of it.
  5. It's really weird walking into a studio during production and there is only one or two people in the control room. It's going to get a lot worse.
  6. He shouldn't have any trouble finding someone decent in Chicago for an A2 at that price
  7. I once got a call similar to this. "All your levels are really low! We need to turn our speakers way up to hear it!" As we were on the phone I pulled up the files and checked my levels. All good. I told them I would show up and help them fix it with these conditions - If its my fault, I'll fix it for free and refund a days rate. If they are doing something stupid, I want double my days rate for the waste of time. I showed up later that day, turned up the master (set at -20 when I showed up) on their 4ch mackie that was being fed from the output of their avid system to their speakers, asked for my check, went home. Best 4000/hr I ever made
  8. Last year I made a reservation at harras, cheeked in really late one night after going to see snoop dogg, and got stuck in the presidential suite for the week.
  9. Everything should be on the same master clock. That is the most important thing. Use a clock that can sync tri level and output 96wc. Send a mix to a camera and an iso to another.
  10. If you referenced -20, and the are seeing -15, tell them to turn it down! That's what a reference is!
  11. If he ever finds you in real live I hope he ejects your nose from your face.
  12. This Arnold dude is a real jackass.
  13. Again I type long winded responses, and again safari crashes and deletes all my work... Ok, first let me reiterate that the majority of the benefit of 96 will be found in post an for those who record things other than dialog in the field. For dialog only, yes there are benefits, but they are negligible. Frequencies outside the range if human hearing interact with frequencies we can hear. We agree on this it seems. The results of these frequencies are not distortion as long as they are being accurately and naturally reproduced. This is no different than the combination of frequencies you can hear. When it comes to 96, more samples and higher frequencies result it better quality more accurate processing and higher quality, more natural summing. Better manipulation especially when it comes to things involving time. More samples = more stretch with fewer artifacts. There is a big difference playing back a single track with extended frequency range and playing back 200 tracks all interacting with each other with an extended frequency range. Could you up sample your location tracks to 96 from 48 to support a 96 work flow? Sure. But why not record at 96 with everything else? Big picture. It's very difficult to discuss these topics in text. I think a interactive real time video discussion is much more appropriate. If people are interested maybe we should make that happen. Then we can easily have pictures and audio comparisons and so on...
  14. When I say not to just think about high frequencies I'm responding to one individual post. The other things I'll respond to when I'm not on my phone
  15. You need to get your mind off of bandwidth and frequency response. Higher sample rate have benefits other than this. Benefits I've already mentioned.
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