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neve 5088 (pg. 3)
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View this Thread in Original format
| Mad for Brad |
i remember seeing a video of a GS get together. Everyone looked like they were stuck in the 80s. Bunch of sloppy ill clad americans wanking about audio gear.
Could be a WOW party
you would think they would have music playing. Nerd central. You'd think if they were so into that stuff, they would all get a master degree in electro-engineering. |
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| nortek |
omg thats embarresing lol, just what i had in mind too lol.
btw dont talk down on electroengineering masterdegree, i have only like 8 months left. |
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| Mad for Brad |
| i'm not talking down. I'm saying that they are dorks, the kind of people that pretend to be smart but when it comes down to it, they are all pretty stupid pretending to be audio buffs. I am wondering why they aren't learning about real engineering instead of DIY half assed work if they are really that into audio gear. |
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| nortek |
audio engineering has nothing to do with real engineering though, and it just a bull word for giving the studioworker a little better status. engineer my ass, what the hell are they engineering? the volume of a track? gimme a break, this whole business is a big lol imo. its not real work. the more i see images from the studios on gearslutz the more i loose respect for the whole business. they have 100K setups but still they monitor on yamahas. The 100K system is to impress clients. I see they hang around 10 persons in there doing nothing but smoking weed and trying to be snoop. Its ridiculous imo. Its on live-performance the real work is (and also where the big buck should be).
:p
j/k, think im gonna go for now. |
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| Mad for Brad |
| watch the video. They want to be engineers ie build stuff but they obviously don't have the education and they just posture. |
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| nortek |
| i couldnt watch it through, i wanted to pull their pants over their heads. |
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| DJ RANN |
| quote: | Originally posted by kitphillips
How do you max out 264 channels out of curiousity? Thats a lotta channels... |
Film score mixing - That's honestly not that unusual, and it was in the smaller mix room.
For example, one film (the biggest of the late 00's), every cue was over 250ch, and one cue surpassed 500 tracks.
It took 30 passes to print the mix of that cue, muting groups and enabling others on each pass.
We also had 6 fully maxed out protools rigs (7 accel cards per rig - yes it can be done) and we had to hire a giant set prop fan to in the machine room to keep it all cool.
In fairness no other project has come close to that - it was seriously intense both in terms of technology and resources sued as well as the hours and workforce. |
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| jupiterone |
| jesus almighty he don't play around :wtf: |
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| kitphillips |
| quote: | Originally posted by DJ RANN
Film score mixing - That's honestly not that unusual, and it was in the smaller mix room.
For example, one film (the biggest of the late 00's), every cue was over 250ch, and one cue surpassed 500 tracks.
It took 30 passes to print the mix of that cue, muting groups and enabling others on each pass.
We also had 6 fully maxed out protools rigs (7 accel cards per rig - yes it can be done) and we had to hire a giant set prop fan to in the machine room to keep it all cool.
In fairness no other project has come close to that - it was seriously intense both in terms of technology and resources sued as well as the hours and workforce. |
Oh ok... I can see how it might add up if you had a really big orchetrra + lots of different mics and effects chains... Seems crazy though to me. Does having that many channels really sound great, or is it just massive overkill? |
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| DJ RANN |
| quote: | Originally posted by kitphillips
Oh ok... I can see how it might add up if you had a really big orchetrra + lots of different mics and effects chains... Seems crazy though to me. Does having that many channels really sound great, or is it just massive overkill? |
tbh, there were several dozen tracks, even whole groups tracks of 30+ combined tracks that really we acting as slight background ambiance when mixed with the more prominnant elements.
You just really can't mix that many tracks and have everything out there, so it became more about the balance of atmosphere and subtlety.
And frankly, yes, it sounded ing great, but that's down to so many things: The seriously heavyweight composer(s), the fact that the orchestra was one of the greatest orchestras in the world, recorded at the greatest studio in the world by the best recording engineer alive.
Combined that with a full the team of engineers working around the clock at the mix stage and the 1st engineer we were assisting to mix it, is arguably one of the top 3 guys in the world, at one of the best mix facilities on the planet with literally no limit on man power or equipment, or expense. |
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| Mad for Brad |
| quote: | Originally posted by jupiterone
jesus almighty he don't play around :wtf: |
the sad part is that it almost sounds like a sound library. And if it is the score i'm thinking off, the actual orchestration was rather simple. Just large tutti sections. I would take out the reference as it isn't that cryptic. |
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| jupiterone |
| quote: | Originally posted by Mad for Brad
the sad part is that it almost sounds like a sound library. And if it is the score i'm thinking off, the actual orchestration was rather simple. Just large tutti sections. I would take out the reference as it isn't that cryptic. |
done :p |
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