{ "numMessagesInTopic": 17, "nextInTime": 1832, "senderId": "vpfrxv9jdgXFoWcDWPihIFwuMB4mqlPPrYWzmCK3_xP04mbBqdzwoXO-tS2Ond5tGVzChhvrlYG5gL4jaaOVgn77auyTH-LS7ccz", "systemMessage": false, "subject": "Re: [01v96] Re: Anyone have one for sale?", "from": ""Ronny Morris" <romo1@...>", "authorName": "Ronny Morris", "msgSnippet": "... From: Tom Hole To: 01v96@yahoogroups.com Sent: Thursday, July 29, 2004 6:49 PM Subject: [01v96] Re: Anyone have one for sale? Ronny, Well, that s a good", "msgId": 1831, "profile": "ronnymorris2001", "topicId": 1814, "spamInfo": { "reason": "0", "isSpam": false }, "replyTo": "LIST", "userId": 165376131, "messageBody": "
\n\n\n----- Original Message -----\nFrom: \n Tom \n Hole\n \nSent: Thursday, July 29, 2004 6:49 \n PM\nSubject: [01v96] Re: Anyone have one for \n sale?\n\nRonny,
Well, that's a good price, so I went ahead and ordered \n one. I think
the 01v96 will make going digital a little less \n complicated than the
DDX. The DDX would have required some funky \n routing to get the
stuff I needed and that would have just irritated me \n and then I
would sell it and buy an 01v96 anyway. \n\n\n\nLearning curve on the v96 \n will be a little harder than the DDX as it's quite more comprehensive, but, I \n run FOH, do location work, rehearse my band and run some of my mastering chain \n through it and it has a routing matrix that will accommodate just about \n any config. that you can throw at it. Limited to the 4 omni's if you want \n 6 or 8 monitor sends for stage, and 4 fx processors going on internally, \n but I seldom use more than 2. The DM1000 has oodles of aux sends like 12 XLR \n outs, but two 01v96's cascaded will give you 80 channels, actual 64 input \n channels, 16 busses and 16 auxes, with 8 aux sends using the omnis on \n both boards and cheaper than the DM1k. When I was running stage monitors for \n Delbert McClinton, the band required 8 monitor mixes and the annie board was \n about 50 grand, Two v96's cost 10 times less and do 100 times more with the \n same amount of monitor mixes. We've come a long way baby. \n\n\n
Gotta say, the 01v96 is holding a good resale value. Used \n ones on
Ebay are selling for more than Alto's is selling them new. \n Gotta
like that.\n\nThe original 01v held \n it's new price for almost 4 years before it dropped. That is unheard of in \n this digital world where processing power doubles and price drops in half \n every 18 months. You've made a good investment, but I loved the orginal \n 01v so much and it paid for itself a couple of hundred times over, so I keep \n it for running my stereo guitar processors through it. I couldn't bare to part \n with it, it's just been a fantastic board and v96 is twice as nice. \n :O)\n\n\n
Now that I have one on the way, I \n have a million questions. I'll
start slow.
1. Since you \n lose 2 FX engines whilst running in 96k, how do the
lower sample rates \n sound? This might be OBE (ref #2).\n\n96k isn't what the \n manufacturers crack it up to be. I waited a long time for 96k to be \n available with my stand alone HD-R's and digi consoles, because I was \n mastering at 96k. But after getting the 96k console and recorders. I've \n run many blind tests with accomplished musicians and some high profile \n producers and engineers and no one can tell the difference, between \n 44.1/48/88.2 and 96k when the ADC's and DAC's are good quality and 24 bit. \n Nyquist was spot on that all you need to capture the analog waveform is to \n sample double the highest frequency and 44.1k will capture 20 to 20k, just \n fine. Just to hear a 20k sine in comparison to a 1k sine takes a boost of \n +75dB on the 20k tone, so mid's will mask the air frequencies long before you \n could hear them or have them effect the lower freq's. Believe me, you don't \n need anymore than 44.1. and if it was truly inferior, redbook cd's wouldn't \n still be around, much less last 24 years and still no hint that they will be \n obsolete anytime soon. Folks run your own blind tests and see for yourself \n that 96k ain't nothing special but takes more than twice the CPU power and \n more than double the archive space. Even if someone thinks that they can \n hear the difference, the minor benefits aren't worth the extra cost of \n processing power and archive cost. I'm sure plenty of people will not agree, \n but do your own testing, do it scientifically and do it blind, before you run \n out and go buying all the 96k gear, like I did.\n\n\n
2. I also bought a Behringer ADA8000 8 channel AD/DA I/O \n strip.
Can I sample with that at 96k or is it restricted to \n 48k? If it is
restricted to 48k, does that limit my 01v96 to 48k for \n everything?Yes, you must run all devices at \n the same sampling rates, that's the way with all digi stuff audio or \n otherwise. You can realtime sample convert if you want to run multi-rates but \n it won't give you any better sonics. IOW, do not dispare, you aren't \n going to hear a big difference runing 48 or 96k, so if you need more than 2 fx \n proc's, go with the 48k, no problems. Last week I recorded a staff writer for \n Mercury Nashville, he's a long time return client that I've worked with since \n the late 60's. Just acoustic guitar with my triple mic technique and him \n overdubbing the vocs. After we finished, I pulled some of his old 16/44.1 \n stuff from 1996 out of the DAT bin and we compared it to the 24/96k stuff that \n we had just recorded and some of it sounded better than the new stuff. Not \n because 16/44.1 sounds better than 24/96, but just some of his performances \n were better. It's all in the tracking and the performance. The higher sample \n rates are good for multi-processing with mastering apps, but as far as studio \n and location recording and mixing down. 44.1k is more than adequate, provided \n the converters of good quality. There is a reason why a 16 bit Weiss converter \n costs $3,000 and a Behr ADA with 24 bit A/D's and D/A's cost only $300. It's \n quality of components, but the cheapo converters are getting better and better \n every day. \n\n\n
3. Are the FX good enough to sell my TC Electronics FX \n (it's just
an M300).\nI mentioned but guess \n my message didn't get through, that I had TC eq, verbs, comps and limiters and \n the TC software mastering bundle or maybe that was on another list, but I \n don't tote racks to gigs anymore, the v96 has a wall of virtual rack gear that \n sounds better than alot of the opamp stuff and the noise floor is superb. \n Spend a little time tweaking the fx on the V though, the factory presets \n aren't like the TC and Waves ones where some will work fine right out of the \n box without tweaking. But once you tweak the Yammy fx and get used to how they \n work best, you'll get a good sound. Save the user settings to their \n respective libraries and you'll be able to use them for starting points \n at other venues, much faster to set up the board, once you get some scenes and \n lib's from different venues in the libraries. The more that you get the easier \n it is to setup new venues and return venues require little sound check than to \n see if the performers mic cables are working. Utilized the channel libraries \n for the different musician's eq, gates, fx and dyn's save it as their \n name, like Ron M. 07 and you'll save oodles of time. SM will really help \n with that, you can blend all aux's with fx, chart the ew, comp and gate \n curves, enable that chanel to a group, pair it with another all with SM and \n when you get to the gig, most of the processors will be set. \n\n\n\n
That's it for now. I'm off on vacation and should have the \n 01v96 in
my garage when I get back. First gig with it will be that \n week, but
it's just a DJ gig. A perfect chance to break it in.\n\nMake sure that you \n practice on it before the gig and save the scenes that you will be using, even \n a two or four channel dj gig will take a little practice. Set up two scenes \n with the auto fades feature, so that one stereo source can be faded out as the \n other stereo source can fade in, you can set the times and levels on the \n faders and by toggling the recall scene button in the UD keys, cross fades are \n a piece of cake with only having to touch one button. Also, set up a ducker on \n your stereo sends to mains, so that when you talk to the crowd the house audio \n will attenuate, but not cut all the way out, again without you having to touch \n the faders. After you talk, the music goes right back up to the normal level \n that you have them set at, you can set the fade in and out time on the duckers \n by the hold and decay knobs and gain of the house music drop by the Range \n parameter. It's a dj's dream. But I would take a spare annie board, just in \n case your learning curve doesn't meet the gig requirements or you get lost on \n the board, I spent a month with the original V before I felt comfortable \n enough to use it for a live FOH gig, but that was with a 5 piece band. Glad I \n did, because with the v96, I used it that weekend after receiving it and \n thought that I could get by from my other Yammy board knowledge. I \n accidentally changed scenes and so did my assistant, by bumping the UD keys. \n So make sure that you go to DIO/SETUP F3 Preference 1 and enable Recall \n Confirmation, if you don't need to toggle between 2 crossfade scenes. And if \n you do set up the crossfade channels with the Auto fade feature, be sure not \n to bump the UD keys in the middle of a song. \n :O)\n\n
Many thanks for everyone's advice. It didn't take long \n after
reading the DDX3216 Yahoo group and this one to figure out which was \n
the better board for me. Shoot, the DDX is $1270 new with an ADAT \n
card and the 01v96 was $1800. I definitely believe I got my $530's \n
worth.\n\nYep and if you record you'll have 24 \n digi track I/O capability instead only 16 on the \n DDX.\n\n\n
Giddy as a school boy ;)\n\nI'm happy for you Tom, enjoy your \n vacation and enjoy the board when you get back, It will be one vacation that \n you won't regret having to head back home on. :O)\n\nAlso, you thanked the folks that gave you \n some input. That goes a long way to getting responses to future questions, so \n thanks for the thanks.\n\nSorry for the long blurbs folks, I'm just \n happy to have my email working again.\n\n------Ronny Morris - Digitak \n Mastering------\n
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