On Sun, May 31, 2009 at 03:29:09PM -0400, Ricus Vincente wrote: > On Sun, 2009-05-31 at 19:37 +0200, Fons Adriaensen wrote: > > Fons, > > > > Say 48 in and 48 out, or even 64? > > > > > > Does the RME hardware allow for that? > > > > I've been using MADI cards from RME, each of them provides > > 64 ins and 64 outs and they work a charm. For interfacing > > to analog you need external converters (first to/from ADAT, > > the RME ADI648) and then to/from whatever your budget allows. > > > > The cheapest converters are Behringer, performance is not > > top grade but if you use only the line inputs you can > > modify them so that the line signals goes directly to > > the converters instead of being attenuated and added to > > the mic input. Signal quality goes up considerably by > > doing this, and you get rid of the variable gain. > > If I were building a studio for myself I would purchase something like > a new Neve 5088 desk, and use Ardour with RME, and Mytek converters. > And when I win the lottery, I will. :-) > > > Regarding Ardour it sure can do the job, but coming from > > a 'real' (or 'reel') multitrack you will have to adapt a > > bit. No more rocking the reels to find the exact punch-in > > spot... > > I only rock reels when I razor-blade edit. I'm not completely > unfamiliar with digital audio software, but every studio I ever > engineered in has been analog. I do some mastering in Sound Forge. > > > Provided you have enough physical ins/outs, the tracks > > will autoconnect to them, so you don't even have to > > open the mixer window if you just use it as a tape > > machine, just create a template with mono outs for > > each track. > > Ideally I'd like to submix the drums down to a stereo pair of outs so I > only use 2 channels on my console, same for guitars, percussion > overdubs, etc... > > > You can set up the tracks as 'tape' tracks which means > > that if you punch the original signal will be overwritten > > as would happen on a real tape. The alternative is the > > standard mode, where a new region will be created (on > > the same track) if you punch, and you can edit the > > transitions later. > > I'd be comfortable with either. After all, they made records with > destructive editing for decades. :-) > > > Regarding punching, I've found Ardour on the unstable > > side when doing that, even recent versions. > > Well that changes things considerably for me. Punch-ins (and outs) are > a fundamental function for any recording device like this. Why is it > unstable in this area? > > From what I've seen there should be a workaround for this, right? > Record another track, or region in the same track and drag the regions > to fit around the punch. No? > I have not seen any instability with punch ins on Ardour, but I have had Ardour rejected out-of-hand by a pro studio guy because it doesn't have a pre-roll feature. He wanted to set a punch in point, type in a number of bars/seconds/frames for pre-roll, and have the transport start exactly at the same spot every time he hit stop and then record/play. I tried moving the Start marker to the "pre roll" point, which I thought worked pretty well, but apparently that wasn't good enough, alas. > I just installed Ardour on my desktop at home. I don't do any audio > work at home so the machine is running Ubuntu (not studio) and it's > primarily used for surfing and other basic productivity activities. It > doesn't have any special audio hardware in it. I installed it to begin > familiarizing myself with it. > > Rich... > _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/mailman/listinfo/linux-audio-user
