The DijonStock Digital Home Recording Support Forum

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THE MUSIC IS DOWN IN HERE
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Good judgment comes from experience, and a lot of that comes from bad judgment.

Bunp

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THE MUSIC IS DOWN IN HERE
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Good judgment comes from experience, and a lot of that comes from bad judgment.

Hi Geno,



Great link and a very helpful tool.

Sad, that there is nothing like this build in the aw, because I dont work with PC for mixing and mastering.
Looks like I have done my first recordings real "flat".

Thanks for sharing this!
Andreas

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Blues aint nothing but the blues!

Fast and Simple! I love it! Thanks very much, a new favourite definitely!

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People lover city builder future liver bigger dreamer louder rocker greater giver looking at the bigger picture.

Downloaded version 2.5. Easy to get up and running (and very revealing), but I need some pointers on how best to integrate this tool into the mix cycle. I currently do all my mixing and most work within the AW1600. I do use the USB link to my PC to utilize Wavelab and other such editors to manipulate individual tracks and/or mixes occasionally.

Should I send the AW's output through my computer's Soundcard, so I can see the RTA as I work. Or is it better practice to mix and then send the mix to the PC? In either case, what effect does the quality of the soundcard have on what the RTA displays?

Additionally, does any one have advice, or a link to some advice, on how best to interpret and utilize the information streamed as the mix plays?

Any pointers gratefully accepted.

Thanks,

Byron

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Byron

I'm no RTA expert but I set this one up and watch a wave play through my compter's sound card interface. You can patch the rec. put jacks on the G to the sound card's inputs. Then the RTA will have a signal to display. It isn't necessary for me to be concerned about any sound card "coloration" I don't hear thru the computer audio monotors. Most stuff nowdays has less than .1% THD anyway. What I do look for is frequencys I think I can hear and narrow them down with the RTA , then apply parametric EQ to the offending frequency to lower it. I also use it to separate synth voices by choosing patches that don't use the same "real estate" on the display. Another thing I use it for is the display channel peak feature and analyse the mix overall for frequency peaks and those headroom robbing very low frequencys.(i.e. below 50 htz.). Those also cause muddy mixes if too many tracks have them. Fine EQ adjustments can be made in real time with both audio and visual feedback. There are many more uses for one I won't cover here except to measure microphone outputs against one another or so called flat "referance" tones and to observe pink noise thru a calibrated referance mic to check speaker placement and response. It can be a real Swiss army knife of audio tools for me.

BTW ........check the Stereo box and watch both signals at the same time.

msg

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THE MUSIC IS DOWN IN HERE
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Good judgment comes from experience, and a lot of that comes from bad judgment.

Thanks. I'll take your advice and send separate signals to the computer and the monitors. No need to listen through the sound card at all. Funny how obvious things slip past. Brings to mind my self induced pain with orienting the LDC 2 mic. I'm currently working on a set of tracks I captured live. Four players with two vocals. The two "extra" channels went through the LCD in a mid side set up. The client and I are both most pleased with the results, but I'm keen to see what the RTA shows me tomorrow. I'm not going to start tonight, as I have a bad habit ignoring the clock once I get going. It was a year ago this week I was involved in a push to finish twelve mixes in preparation for mastering and an early April deadline. I teach elementary school, and this week being our March break allowed me to put the push on for sixteen hours a day. I was drained by the end of it all, but very pleased with the results. I left all my gear and my desk untouched for about three months. I put a couple of those premastered mixes through the RTA today - an eyeopener for sure. I'll be interested in seeing and comparing them to the mastered mixes, but I don't really recall much EQ work happening at the mastering studio. It did go through a lot of gear, including 1/2 inch tape machine as an early stage of the mastering chain. This whole process of learning how to interpret and manipulate audio is great fun for me, and I'm glad to have found a like-minded community in this forum.

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Byron

Tell me about it , I've been thriving on 4-5 hours of sleep now for a month. I gotta rest soon.

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THE MUSIC IS DOWN IN HERE
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Good judgment comes from experience, and a lot of that comes from bad judgment.

Sleep tight. There is a blizzard happening here tonight. I guess you don't get much snow in Texas. I never would have met my deadline last year if it wasn't for "snow days" (ie. school buses canceled, roads closed, = bonus day off)

Byron

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Byron

An interesting link indeed but i know almost nothing about Realtime Audio analysis. It seems that al audio i see is covering the entire frequency range with certain peeks and harmonics on the high side of the sound (HF). It seems that all sounds interfere with each other. So how does one decide where to put a low cut or a high shelf ? Does anybody know about a concise explanation or some documentation i can have a look at ?

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In a minute it might be gone. Life is a bear in a bubble.

http://www.soundclick.com/bearinabubble

I'll lend you my book "Mastering Audio" by Bob Katz. It clears up a lot of the mysteries (and nonsense that is around).

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Don't judge the coffee by its cup.
The proof of the cheese is in the eating