FlipFlopRob wrote:Ok thanks guys, is there an audio interface you would recommend for connecting between this mixer and my Mac?
FlipFlopRob wrote:…the main thing I wanna use the mixer for is for controlling Logic via the mixer so during the mixing progress I can use the faders on the mixer to control volume and EQ knobs for the EQ etc. Thank you
David wrote:Any particular reason you want to connect a mixer?
labanino wrote:What I really want to do is live recording. So, this is my question,if I get rid of the mixer how am I going to do the mixing?
labanino wrote:David wrote:Any particular reason you want to connect a mixer?
What I really want to do is live recording. So, this is my question,if I get rid of the mixer how am I going to do the mixing? I have a Tascam US1800 8-Channel USB 2.0 as a user interface and Logic Pro 9 . Thanks.
FlipFlopRob wrote:Hi guys, I've just recently got a new Macbook Pro 15 inch with Logic Pro
I was wondering how I would set up my mixing desk with it?
onewave wrote:In my honest humble opinion do not get rid of the mixer, use it to its full capacity, its a wonderful tool created ... blah, blah, blah ...
shivermetimbers wrote:You can go onto You tube and hear some pretty amazing 'live' mixes of top bands. Most bedroom hobbyists cannot do this sort of thing because of equipment limitations.
shivermetimbers wrote:The mixer is basically going to...screw up the EQ ...
David wrote: I don't know about that, Shive'. The sound quality of a YouTube video's audio track is SOOOO poor that it becomes the lowest common denominator, the weak link in the chain. If you can't make a mix sound good in a YouTube video using Logic (which any bedroom hobbyist can afford now), I don't think you'll do much better with an SSL or any "more professional" equipment.
It's a sad day when we start judging of the quality of a mix by listening to a media that is absolutely horrible, way, way worse than an mp3, which is already nowhere near a PCM file. Might as well discuss the subtle differences between paint colors while wearing tinted sunglasses.
ski wrote:shivermetimbers wrote:The mixer is basically going to...screw up the EQ ...
Screw up the EQ?
shivermetimbers wrote:Ya. Let's take your old Mackie board for example.
You do a 32 track recording and somehow you have to eek it out of a 16.4.2 mixer. So you patch your eight output interface into eight input of the Mackie. Now what? Somehow you have to figure out what tracks are going to which output, right? Maybe you decide to go with 4 stereo pairs, who knows?
By now, you have most likely done some sort of mix prior to the outboard mixer anyway, and unless you set the mixer up properly and are going directly onto an external DAT machine (or some other device), you have screwed up the EQ.
Even if you set the outboard mixer EQ and faders to 'unity,' so what? What can you possibly gain by this? All you have done is insert another noise source into a digital chain.
Most people make all the little lines on all those knobs point up to 12 o'clock as a starting point, they EQ in Logic with some screwed up 12 o'clock setting on the outboard mixer, and then maybe directly back into Logic. At the end of the day when their ears are worn out, they think they may have added 'warmth' to the mix.
ski wrote: I addressed the what-can-be-gained thing above. And if your gain staging is done properly and you're using a decent mixer, the amount of noise that you'll hear in the final result will be negligible. Worse case scenario is you run the output of the board through a noise gate to mask any low level hiss during silent passages. Or you do the same thing using a noise gate plug in Logic once you've recorded the track. Or split silence. A little bit of time needed for that, but really it's no big deal if what you gained from the outboard makes your ears happy! (Where's that happy-ears emoticon when you really need it, eh?)That's too cynical even for me! Shiv! Babe! It's not ALL snake oil.
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