BillFitzmaurice.info

Is there a DIY way?

I'm building a digitisation project studio for my 12" vinyl collection..

Looked at Genelec 8040A and the like but nothing seems to get universal approval:

http://www.musicradar.com/tuition/tech/ ... -233378/12

You reckon I need a sub as I'm recording EDM? The 8040s, for example, are ok to 45Hz, I think.

And, is there specialist vinyl processing software or should I use Logic?

Any other advice very gratefully received.

Thanks as ever, guys!

Contrary to what the marketeers would have you believe there's nothing all that special about a nearfield. The only consideration is minimal CTC spacing of the midbass and tweeter to minimize the distance from the source where full integration of their wavefronts is complete. The ubiquitous Yamaha NS10 started off as a home hi-fi speaker, and on average sold for the princely sum of $249.

UROK wrote: You reckon I need a sub as I'm recording EDM? The 8040s, for example, are ok to 45Hz, I think.

The combination of not knowing what I was doing with placement and room modes played complete havoc with me for a long time when trying to mix with a sub, so my view at the moment is that mixing with a sub is not worth it unless its set up just right. This past December, I had to mix without a sub, so instead I checked the bass mix with headphones. I didn't wear them all the time, actually very little...just long enough to hear how the deep bass was fitting into the mix, then I'd go back to just the near fields for all other mixing duties. My nearfields go to 55 hz. Pick a well engineered song you'd like to match the sound of and get really familiar with how it sounds through the headphones, especially the bass, then work to match that. Just don't mix on the headphones exclusively. The headphones took the room out of the picture when making decisions about the bass, and we all know that the room is critical. I was very happy with how well the mixes traveled with this approach. These are the headphones I use, but try whatever you have first.
http://www.audio-technica.com/cms/headp ... index.html

UROK wrote: And, is there specialist vinyl processing software or should I use Logic?

That's perfect for multitrack stuff. I use Sonar X1 and love it. Are you mixing songs you're writing?..not clear on what you're doing exactly.

doncolga wrote: The combination of not knowing what I was doing with placement and room modes played complete havoc with me for a long time when trying to mix with a sub

It's easy enough, just have the system sounding right with a few CDs. Then mix yours to sound as close as you can to them.

Bill Fitzmaurice wrote:Contrary to what the marketeers would have you believe there's nothing all that special about a nearfield. The only consideration is minimal CTC spacing of the midbass and tweeter to minimize the distance from the source where full integration of their wavefronts is complete. The ubiquitous Yamaha NS10 started off as a home hi-fi speaker, and on average sold for the princely sum of $249.

In which case these would these be ok, then? (I already own a pair ):

http://www.paradigm.com/products/archiv ... an-monitor

I thought the NS10s were used precisely because they were representative of the average sort of speakers widely used i.e. they aren't the most precise or revealing cabs. NS10s usually appear alongside Genelecs etc in major studios, no? The mix down is done on the biggies then played back thru NS10s and sometimes even car audio speakers to hear what the "average" listener will hear, I thought.

Anyway, many thanks, Bill. Once again!

Donny, I have several hundred, maybe even over a thousand 12" techno singles from the 90s. These are rare tiny label limited pressings that are not available on Juno etc.The DB4 DJ mixer by Allen & Heath plus Traktor allows four virtual decks and auto beat matching, as well as FX which are matched to the bpm on that channel. A lot more creative options instead of taking longer to do it all by ear.

Thus, digitizing vinyl now makes sense. The same sound quality especially LFE as analogue (using AIFF files not mp3s) plus greater control means it's a no brainer.

UROK wrote: In which case these would these be ok, then? (I already own a pair ):

http://www.paradigm.com/products/archiv ... an-monitor

Yes.

I thought the NS10s were used precisely because they were representative of the average sort of speakers widely used i.e. they aren't the most precise or revealing cabs. NS10s usually appear alongside Genelecs etc in major studios, no?

Yes again. What's the point of a mix that only Genelec or Westlake owners can appreciate?

Bill Fitzmaurice wrote:

UROK wrote: In which case these would these be ok, then? (I already own a pair ):

http://www.paradigm.com/products/archiv ... an-monitor

Yes.

Woohoo!

I thought the NS10s were used precisely because they were representative of the average sort of speakers widely used i.e. they aren't the most precise or revealing cabs. NS10s usually appear alongside Genelecs etc in major studios, no?

Bill Fitzmaurice wrote: Yes again. What's the point of a mix that only Genelec or Westlake owners can appreciate?

Which prompts the question: why do studios have big expensive monitors?

UROK wrote: Which prompts the question: why do studios have big expensive monitors?

Because they can write the cost off on tax?

Seriously, wouldn't the idea be that you need to faithfully hear what's going through the mix, and lower cost cabs supposedly can't do that, so you'd need need over the top expensive suckers that can?

itsnew2me wrote:
Seriously, wouldn't the idea be that you need to faithfully hear what's going through the mix, and lower cost cabs supposedly can't do that, so you'd need need over the top expensive suckers that can?

No, it's because they can afford them. You can get all the precision you need from $1k speakers. Above that it's bling.

Bill Fitzmaurice wrote:No, it's because they can afford them. You can get all the precision you need from $1k speakers. Above that it's bling.

Sheesh Bill, surely that's an opportunity staring you in the face then isn't it?

itsnew2me wrote:Sheesh Bill, surely that's an opportunity staring you in the face then isn't it?

+1

That was what I was originally hinting at! But I was being all reticent and British! Trust an Aussie to be direct and come right out with it!

[ though. ]

UROK wrote:

itsnew2me wrote:Sheesh Bill, surely that's an opportunity staring you in the face then isn't it?

+1

That was what I was originally hinting at! But I was being all reticent and British! Trust an Aussie to be direct and come right out with it!

[ though. ]

UROK,
Mate, tell it like it is.
At least then you can't be misunderstood...

Maybe a stupid question, but why are you concerned with perfect and accurate representation if you're just digitizing pre-recorded music? You could just run in straight in with no processing and treat it like you would any CD or download currently produced -- by adjusting on playback to suit your needs at the time.

BTW, I use Adobe Audition for single-track editing. It does that really well. Multi-track, not so much. Anything that captures the audio will be fine. The tools for slicing and dicing into tracks is really the only part that matters, and that's more of a familiarity thing. Any editor will have what you need.

SirNickity wrote:Maybe a stupid question, but why are you concerned with perfect and accurate representation if you're just digitizing pre-recorded music? You could just run in straight in with no processing and treat it like you would any CD or download currently produced -- by adjusting on playback to suit your needs at the time.

BTW, I use Adobe Audition for single-track editing. It does that really well. Multi-track, not so much. Anything that captures the audio will be fine. The tools for slicing and dicing into tracks is really the only part that matters, and that's more of a familiarity thing. Any editor will have what you need.

Thanks, Sir N.

Since I really have no idea what I'm up to when it comes to software etc you ask an interesting question!

My rationale is because it's vinyl and it's old and been carted about a lot.. A bit crackly in places and all that. Very few have level problems and I don't want to remix. Just wanted to clean them up if poss.

How you reckon I should do it?

Thanks!

itsnew2me wrote:
Sheesh Bill, surely that's an opportunity staring you in the face then isn't it?

There are dozens, if not hundreds, of suitable designs for nearfields already out there. I only do what you can't find elsewhere.