DOVESKI wrote:Just make sure you record loud, you got to record loud with the digi001 and mBox to pick up the full frequencies. Let the peaks hit the red. And while your at it I'd probably pick up some sort of little mixer.
This is terrible advise never clip in digital because it will distort the sound.
Pro Tools might be a standart but it still sounds like shit when you mix inside the computer. Thats why when we use Pro Tools here we mix everything in the SSL and use Pro Tools only as a multitrack recorder and editor.
If Pro Tools sounded good inside the computer alot more pros would consider mixing in the box.
The reason for Pro Tools sounding like shit is because it uses a 48 bit "fixed" point engine. The reason Cubase SX,Nuendo,Logic.Sonar,samplitude,and other Native programs kick Pro Tools Ass in sound quality is because they use
32bit "float" point.
What this mean is that you dont have as much headroom in Pro Tools.
But thats not where it ends Pro Tools "Fixed Engine" is set where you loose
bits of data when you make dB reduction on the fader,therefor loosing bits and quality.
Thats why when we mix we use 48 outputs into the mixer and all the faders inside Pro tools set to 0 dB to keep the 24 bit wordlength threw out the whole signal path.
In the 32 bit "Float" and float being the keyword world, bringing the fader down a few or many dB's will not loose its sound quality or bit resoulution.
This happens because the recording engine gives you 8 xtra bits.
The 8-bit exponent gives the floating-point architecture an astonishing dynamic range spec of 1500 dB (8-bits = 256, and 2256 equals approximately 1500 dB) Fixed-point, with its 48-bits, gives you 288 dB of dynamic range.
However you do the math... if you've ever worked in a fixed point system you will know how difficult it is to maintain an excellent audio bit depth resolution without clipping somewhere along the path... i.e., it's extremely common that fixed-point systems end up with digital distortion due to clipping by the time you are done with a complex mix. You only need to use your ears.
BTW... those arguments saying that fixed-point is better are always made by companies that are stuck in a fixed-point world and need to find a way to justify it. Digidesign was one of these companies claiming such things for many years... but now that they support floating point when using native plugins they are finally admiting that floating point is superior.
Thanks Dan Duskin
Now onother thing when you record super loud and clip you are clipping
because the AD Converter reached its full headroom capicity.
When this happens the computer does not know how to represent the signal strengh so it clips because you over loaded the converter and therefor giving you a terrible glassy sound.
A good recording technic for people who use digital to record is to calibrate your converters. to +4dBu not dB but dBu. The reason for this is because when calibrated to +4 dBu and not -10 dBv Line level you are telling the converters to reduce input for +4 signals since there very hot signals compared to -10 signals.
And if you calibrate your converters to -10dBu you are telling your converters to increase the input for -10 signals. Therfor running a +4
signal into a -10dBu calibrated converter will overload and clip the signal.
-10 signals are usually always found on keyboard outs and the 8 indivitual out of all the MPC series Akai sampler Sequencers.
+4 signals are found on the MPC Main outs, all mic preamps and All DI boxes.
When you record in your program of choice I recomend to stay away from Sound blasters get your self a decent soundcard and decent set of converters. Get And RME Soundcard and a Apogeee Converter if you can afford it. Heck for $5,000 you can get a better sounding system then a Pro Tools HD 3 for 15,000 dollar sysem.
I have been able to sucessfully make Pro Tools sound as good as the MPC
but belive me turning your volume on the MPC is not the secret.
You want to set your volume half way. And you want your signal in Pro Tools to be halfway right in the midle thats what that line is for in Pro Tools.
The reason for this is you avoid clips and by still being in the 48 bit world you need to leave headroom for your plugins.
Think about it if your signal is at 0db. When you ad a plugin its goin to completyly **** distort. And you are going to be force to bring the fader down and therefor loose quality.
This is great advise mpire45
mpire45 wrote:Good AD/DA convertors when used at a high sampling (88.2 or 96) and bit (24) rate will offer you a recording with spacious headroom like high-end analog....Trust me on this, I work with analog and digital. But, the difference in what you have in between the source (MPC, ASR, etc.) and the destination (MOTU, PT 002, etc.). I always advise the producers that I work with to invest in a high-quality channel strip/mic pre (i.e. any Focusrite will suffice...their Platinum series sound incredible). A good channel strip (whether it's solid-sate or tube) will offer you an instrument input (bump the unbalanced signal to a balanced one), a preamp with good headroom, a compressor, an enhancer or eq, and an output with good headroom. Trust me on this, you will hear a difference in your signal...More presence and detail. I personally prefer the tube units...They offer me the sound I appreciate about analog; analog compression with added harmonics.
Bottom line, scrape up $500-1000 to invest in a good unit that will make your recordings compete with anything else done in pro studios.
Vaughan
I run a tubetracker from the MPC 8 out into the 8 ins of the TL Audio at home using Nuendo 2,Apogee Rossetta 800 and Rme MADI.
Qick story Tubes where once the king they gain back their crown when Pro Tools became a Standard since it sounded so bad.
For any help hit me up at my email.
but I sometimes use it as a distortion box 
