mr. sky, gear doesn't work the way you would like. there's nothing you can do about it, becuase the reality was ordained by god. you will have to repatch or get more gear(converters and/or patch bays) to do what you want. don't be sad, 10 years ago it would have been much harder and about 200 times more expensive.......
some(more) study of studio principles not found in a magazine would also help.
Headroom on Creamware Cards
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cleanbluesky
- Posts: 162
- Joined: Sat Jul 31, 2004 4:00 pm
- Location: England
When you refer to gain on the CW card, is the a digital gain or is there some sort of analog gain stage before the D/A converters (I have other digital equipment with this).
Yes, my signal path is completely analog (except for a TC Electronics Fireworx in the FX loop) and I am a guitar player, and when recoreding guitar gain stages can be very important.
What I want is to maximise the headroom when recording so that when it comes to mastering, I do not have to boost a signal 2-4 times over in case it was recorded using 1/4 of available headroom.
Does anyone know what the maximum signal level a Creamware Pulsar II Plus can handle?
Yes, my signal path is completely analog (except for a TC Electronics Fireworx in the FX loop) and I am a guitar player, and when recoreding guitar gain stages can be very important.
What I want is to maximise the headroom when recording so that when it comes to mastering, I do not have to boost a signal 2-4 times over in case it was recorded using 1/4 of available headroom.
Does anyone know what the maximum signal level a Creamware Pulsar II Plus can handle?
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hubird
Thanks blazesboylan, very useful linkHere's an example of a page that discusses the difference between the various units:
http://www.jimprice.com/prosound/db.htm
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cleanbluesky
- Posts: 162
- Joined: Sat Jul 31, 2004 4:00 pm
- Location: England
Ummm. I've recorded songs before... You don't seem to understand the guitar mentality. Take valve (tube) obsession and turn it into an art form and then you can understand why I am looking into this... gain stages are important...On 2004-09-14 07:27, hubird wrote:
I'd say just start making a song, the (psycho) musical problems you (everyone) will meet are much bigger and of much more importance to the end result than the issues you throw in for yourself
just start a song and see what happens, leave the technical level, it all will work great!
those type of gain stages have nothing to do with your recording gear unless it's an effect, a preamp or some other gain device specifically for that purpose connected to your recording gear(even if virtual). oh, so many young enterprising engineers to be horrified thier bosses by overdriving precious and expensive mic pres for the wonderful sound and many received heavy fines and firing. ultimately, it was a bad idea and led to smoke.
you just need enough clean level to get a good recording. period.
you just need enough clean level to get a good recording. period.
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hubird
sure, though not beeing a guitarist I know the valve magic, but I thought you were seeing problems in headroom.
As far as I know headroom is greatly covered by CW cards.
If you need to chain an external mixer with not-so-good specs and you don't have the mony for better, level the routing to the max and put a noisegate on it in SFP.
I bet you will be satisfied with your valve sound after all, specially when listening to it in a mix
I do believe you sure are qualified for making a good mix (though you seem to have strange gaps in practical knowledge).
It's just that I try to equal a bit these aspects of your situation:
- technical aspirations (v-v-very hi)
- practical experience (so-so, not knowing the concept of effect send),
- financial possibilities (prob. restricted), and
- professional occupation (do you run a hi-end famous studio or a hobby home studio).
Nothing personnal, I admire your deep diving attitude
_________________
Let There Be Music!
<font size=-1>[ This Message was edited by: hubird on 2004-09-14 22:12 ]</font>
As far as I know headroom is greatly covered by CW cards.
If you need to chain an external mixer with not-so-good specs and you don't have the mony for better, level the routing to the max and put a noisegate on it in SFP.
I bet you will be satisfied with your valve sound after all, specially when listening to it in a mix
I do believe you sure are qualified for making a good mix (though you seem to have strange gaps in practical knowledge).
It's just that I try to equal a bit these aspects of your situation:
- technical aspirations (v-v-very hi)
- practical experience (so-so, not knowing the concept of effect send),
- financial possibilities (prob. restricted), and
- professional occupation (do you run a hi-end famous studio or a hobby home studio).
Nothing personnal, I admire your deep diving attitude
_________________
Let There Be Music!
<font size=-1>[ This Message was edited by: hubird on 2004-09-14 22:12 ]</font>
You could boost the crap out of the Behringer gain and then keep the input gain on the CW mixers low (and for future reference it is purely digital inside the machine realm so don't go plugging a guitar head directly into the line in.
But at least this way you can get higher levels. But this will only do well by you if you are looking for an over-driven sound. If you want loud and clean, go the other way around, quiet on the Behringer and loud in the CW input gain.
Once it's in you can do all kinds of things to it to make the sound more interesting.
If you have an idea of what you want to hear, but don't know how to get it, your best bet is to just get something down and work with it and do some studying in some off hours. That way, at least the idea is moving forward, and you have a referent you can replace if you figure it out later. You never know though... you may like what comes out unintentionally. I have often found those little unintended tweaks become the center-piece of the song, taking it in some other, more interesting direction.
Sam
But at least this way you can get higher levels. But this will only do well by you if you are looking for an over-driven sound. If you want loud and clean, go the other way around, quiet on the Behringer and loud in the CW input gain.
Once it's in you can do all kinds of things to it to make the sound more interesting.
If you have an idea of what you want to hear, but don't know how to get it, your best bet is to just get something down and work with it and do some studying in some off hours. That way, at least the idea is moving forward, and you have a referent you can replace if you figure it out later. You never know though... you may like what comes out unintentionally. I have often found those little unintended tweaks become the center-piece of the song, taking it in some other, more interesting direction.
Sam
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hubird