Stock pro tools vu meter software#

The following is a very brief overview of some of the most common types of meters, how they work, and the benefits and shortcomings of each type. Unfortunately, the best way to read, interpret, and calibrate these meters is not always clear.

Stock pro tools vu meter software#

I'd highly recommend getting some patchbays, if for no other reason than bringing up front all the points on the m520 you want to access.From recording software to rack gear to large and small mixing consoles - audio meters are a part of everyday recording life.

Which in the real world of hardware compressors would be financially impossible. With bomb factory (stock protools plugin), that gives me unlimited 1176 style compression, In practice however, most effects on individual tracks are done in protools. Can also use the insert points on mixdown.Ĭhannels 17 to 20 are used as effects returns, which I usually just use for stereo effects such as reverb or compression that i want to apply to the whole mix. I'll use the first 16 channel's insert points for any effect I want to print to tape. That is fed by the 8 buss outs (but not always) The other interface is a focusrite pro40. The ice16 is run into the line in channels 1 to 16Ĭurrently it's inputs are from the tape machine's outs, although I could hook it up directly to the tape outs of the board.īut the way I'm set up, I record to tape, go out of the tape into the Allen and Heath, out of the A&H into the board. Side note: firewire gets a lot of shit, but my computer has a great firewire card and I'm real happy with it's performance

There are no preamps, which for my uses aren't needed, seeing how I'm using a board. It's great for recording a band off of a board, tape to daw transfers, etc. You can record anything from 1 to16 tracks at once, but no over dubbing. It can be connected via usb or firewire.Īs a standalone recording device, you can't do multitrack recording. My allen and heath unit is an ice16 It records to a thumbdrive or a hardrive as a stand alone unit, or to a daw. Likely bigger than MODERN 85C caps but probably about the same size as the originals? Note, if you DO replace any electrolytics, fit 105C types if you can. If they are 'good' there is little point IMHO in the protracted, possible damaging process of re- capping.

You need to run a frequency response and distortion test to check that these parameters are up to specification. The latter can be hard to spot without an oscilloscope. However, a reduced cap value CAN reduce Negative Feedback and that will increase distortion.ģ) Failing caps can cause increased power supply noise or even in some cases instability. Electrolytic caps ALL cause slight distortion but the higher the value, the lower it is at any given frequency but since the distortion in a tape path is many times that of say digital recording, the effect is likely never noticed. This is because as the cap falls in value its impedance rises and attenuates LF.Ģ) As well as LOSS of LF, a drop in value can cause an increase in harmonic distortion, this is due to two possible effects. Aged capacitor can cause the following problems.ġ) loss of low frequency response. I would like therefore to give my view on 're-capping'?Ĭan be a bit of a 'fashion' in many areas but I suspect these machines are mostly old enough to warrant it?īefore you get stuck in however do some homework and gather some test gear or software to 'spec out' the kit.

Now, I am not in nearly the same league as Sweetbeats and the other guys here ref these old tape machines, just a 72yrd old tech' who has poked about in most things electronics, especially audio.