PlanetZ forums - scopeusers.com

hello,i'm an italian dj,i have got a pulsar2
my frends(giorgio prezioso,gigi d'agostino etc)says than pulsar do not have dynamics as protools sistem and it is not good for make a disc.
eiffel 65 make pulsar-scope only with virtual synt.
i ask you;is pulsar2 good for professional mastering??
the expert can reply at my question.
in this time creamware make the offers for pulsar users and i think of bui scope srb.
but i want to be shure than with this sistems can i do a professional mastering whit a good dinamic.

thank you my friend and bye for italy

<font size=-1>[ This Message was edited by: verdelli on 2002-05-30 03:39 ]</font>

The Creamware system uses 32 bit processing. it has a HUGE dynamic range.
thats 4294967296 different levels as opposed to CD (16 bit) which is 65536

Your friend might be talking about some percieved lack of dynamics in the synths.
it is just subjective.

It works very well with external gear and can capture anything it can do with great fidelity.



<font size=-1>[ This Message was edited by: Neutron on 2002-05-28 08:12 ]</font>

I've used both. Everything is as good on PT or CW. nothing about dynamics.

why you smile?

<font size=-1>[ This Message was edited by: verdelli on 2002-05-28 23:12 ]</font>

I think that when someone
" say than pulsar do not have dinamic as protools sistem and it has not good for make a disc" =
(no offence)


<font size=-1>[ This Message was edited by: magico on 2002-05-29 02:00 ]</font>

Yes, but please....

Everything sounds at LEAST as dynamic as Protools. Having 32-bit processing has some subtle advantages...

Whith 32-bit float calculation you can generally get very large and very small numbers. You have a lower noisefloor and processing that was done whith a 32-bit file does not truncate that easily... Whith 32-bit the sound seems to hold up a bit better after repeated processing, and technically that also makes sense. But the problem why 32-bit processing can´t be distinguished immediatly is because the output of your converter always is at 24-bit. Although internally at 32-bit at some point the data has to be truncated down to at least 24-bit, and everything you hear from you converters will reflect that process, even if you're listening to a 32-bit file. Only when recorded whithout any processing at all 24-bit has no deficits. Every modern digital mixer does have a 32-bit bus, and therefore gets more "headroom" (important for mastering). The Waves TDM plugs for example can operate at 48 bit internal (double precision) and some plugs do operate at 56-bit. But the file needs to be dithered down to 24 bit before given to the next plug in in the line. Pulsar plugs are all 32 bit floating point and, therefore, do not need to round down or dither unless they are the last plug in in the chain. And "dithering" has an accumulative effect, because it is nothing but "intelligent" noise.


Regards,
Sunshine

Gigi D'Agostino would not be a person I would take advice from judging from his rendition of "The Riddle". Now THERE's a track totally devoid of dynamics!

If he told you there are no dynamics on Pulsar, did he use it to produce this track?

the room you master in is more important......

You must be completely insane if you take your musical advise from gigi f*ckin D'Agostino. He has made possibly the crappest music of the last 5 years! (and so did Eiffel 65)

No offence.

dunno who the heck this Gigi dude is.. but anyway, if you want to be very dynamic, mix with your monitor speakers pumped up very high. That'll force you to use the full dynamic range. But the mastering engineer will kill ya though. hehe.

Gigi D'Agostino is a guy who looks a bit like Ali G, and makes badly produced, awfully commercial shitty "trance" music which makes you hurl. (of course, seeing how bad it was it became a hit too)

And he absolutely desacrated Nik Kershaw's tune!