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CUBASE NUENDO Over 30 YEARS EXPERIENCE of ENGINEERING and PRODUCING ORCHESTRAL SOUNDTRACKS LOCATION RECORDING & MIXING APOGEE MILLENNIA DEMETER API SCHOEPS DPA FOCUSRITE EARTHWORKS MILAB NTI EQ UNIVERSAL AUDIO UAD-2 DUO CARD RME RAYDat AUDIO CARD DYNAUDIO ACOUSTICS BM15A's |
When you record or mix in an environment where you feel most comfortable, your artistic focus is on the music - not on the studio bill. Recording at a home, your rehearsal space, church, or any other "non-studio" location is now easier and more affordable than ever before. My mobile recording system provides the highest quality digital audio wherever you want to work. With up to 24 simultaneous tracks "IN RECORD" constantly for hours and days on end without a crash, twitch, glitch, crackle, or click. Mixing capabilities of well over 100 tracks. This system easily interfaces with any studio. Or it can provide you with the best recording technology at any location to record, overdub, or mix. Whether you want to record your instrument and/or voice in your own home, want to record in your rehearsal space, or need to record an orchestral soundtrack for film or television "on location" locked to SMPTE and picture, my system is designed to surpass your needs.
My mic pre-amps connect directly to the Apogee/Cubase inputs, bypassing any other stages of amplification. This allows the cleanest, punchiest, most dynamic audio possible. When you route a signal through a recording console, it passes through multiple gain stages and amp sections, and the sound quality suffers.
For monitors, I selected the DYNAUDIO ACOUSTICS BM15A's. This accurate nearfield monitor system offers exceptionally high performance. It's extended bass response and extremely smooth high frequency reproduction makes it an ideal near/midfield monitor for any recording system. It provides exceptional detail and stereo sound field definition, and is comfortable to listen to for long periods of time. You'll find this monitoring system in many mastering studios. For alternative listening, I use pairs of KRK 6's and Auratone 5Cs.
A Rosendahl Nanosyncs generates word clock for the entire system. This results in superior system stability, outstanding digital audio quality, and improved stereo imaging. It enables interfacing with other audio and video systems for locking to picture for soundtrack work (NTSC or PAL.) It stabilizes locking to analog SMPTE LTC systems for bouncing existing tracks into Nuendo for additional overdubs, editing, and mixing.
All musicians use Sony MDR-V6 headphones while recording. They sound great and are very light-weight so they can be worn comfortably for long periods of time. And they can be VERY LOUD if needed.
It sets up in about 1 hour, and is protected by an APC 1000-Watt Uninterruptable Power Supply, so all recordings/data can be saved in the event of any power problems. The microphones and headphones require additional time, and this depends on how many need to be set up. With proper prior planning, an extremely comfortable and rewarding recording/mixing experience can happen. |
I use Cubase 5 by Steinberg. This multi-track audio
recording/editing/mixing software program is comprable to Digidesign's
"Pro Tools." I switched to Nuendo (also made by Steinberg)
in 2002 after using "PT" for several years because Nuendo
SOUNDS better and WORKS faster. Cubase 5 continues to use the same
core audio engine as Nuendo which is preferred and recommended by
many of the top recording and mastering engineers in the studio business.
Cubase 5 contains more additons and developments
that Steinberg has refined in the last 10 years. Almost all TDM "plug-in's"
are available in the VST format for Cubase 5. The recording,
editing and mixing capabilities along with the standard audio
manipulations (pitch shift, time stretch, editing, looping, fades, crossfades,
etc.) are equivilant in both programs. There are over 100 tracks available for
mixdown. But the basic operation of the program and manipulation of the audio files is
significantly faster in Cubase 5. There is nothing I dislike more
than having a session grind to a halt while I deal with software routing,
picture size on the screen, turning various windows on and off, and just doing
a lot of keyboard tapping instead of concentrating on the music.
Cubase 5 "works" much faster than "PT,"
so I can focus on artistic performance, music, and creativity. To hear some recordings
I have done using my mobile recording system, check out my
I HATE "MOUSE" RECORDING/MIXING - it slows down the
creative process (and increases the client's bill.) That's why I
have the Mackie MCU remote mixer Almost
all of the functions in Cubase 5 can be accessed and operated from
the MCU, which makes the system work faster. Motorized
faders and knobs can be assigned to various channels
or functions instantly. With the MCU, my system
works comparably as fast as a large console, and demonstrates why
"mouse mixing" is such a waste of time and energy.
I use a rack mounted, custom designed PC, built with the finest available
components for digital audio recording. An Intel Core i7 CPU, which is the equivalent
of eight 2.93 GHz processors, Windows XP Professional for extreme stability,
Asus P6T Deluxe motherboard, 6 GB DDR-3 1600 RAM, a RME RayDAT audio card
(36 ins/outs,) two 500-Gig Seagate hard drives, and a Plextor CD burner. All rack mounted, very
stable, and very mobile. All interface cables (DUAL flat panel monitors, USB, etc.) are
50 feet long, so the computer rack and cooling fans can be positioned in a separate space
preventing any extra noise from being added to the actual listening area. Back up storage is
handled with external hard drives through USB 2.0 and Firewire/IEEE 1394 .
I use a Universal Audio UAD-2 Duo card. It's dedicated
high-speed CPU/DSP hardware handles all of it's own audio processing. This
results in effects with amazing reality, warmth and complexity, while placing
no additional burden on the computer's main processor. Available plug-ins include the
EMT 250 reverb (AMAZING!!!,) SPL Transient Designer, FAIRCHILD 670 Compressor, Dreamverb,
PULTEC Pro EQ, CAMBRIDGE EQ, Teletronix LA-2A and LA-3A compressors, the UREI 1176LN
and 1176 SE compressors and others, with regular additions and updates.
Current Software Version 5.50 (Feb. 2010.) I have hand picked additional great effects plug-ins
from various other sources to add to my collection. I also use the most up to date Antares
Auto Tune EVO pitch correction software, and Steinberg's Wavelab 6 for CD burning.
