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Who Chose The Magazine's Name?

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Re: Who Chose The Magazines Name?

Postby desmond » Wed Jun 01, 2011 10:22 am

When I was a tiny lickle thing I "borrowed" my dad's tape deck and my sister's boom-box so I could do sound-on-sound bounces between them...
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Re: Who Chose The Magazines Name?

Postby Exalted Wombat » Wed Jun 01, 2011 10:25 am

hollowsun wrote:If I was designing a music technology course, I'd be tempted to not allow any student access to a modern DAW (hardware or software) until they'd done three months on mono SOS with a single tape machine, three months of stereo SOS with two tape machines, then a further three months with a 4-track MTR and the final three months of the first year with 8, 16 and 24 track MTR with a real desk. That way, they'd learn to be creative and inventive and resourceful, think on their feet, improvise and compromise, learn how to use (and abuse) gain stages and routing and mixing on the fly and so forth and none of this 'fix it in the mix' nonsense - get it right at source, work with limitations, make creative decisions early on (and live with them) and so forth. The (ahem) 'qualification' they came out with would still be useless but at least they'd be better prepared for the real world!

Don't forget the mandatory class on making quill pens for the Creative Writing course :-)
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Re: Who Chose The Magazines Name?

Postby hollowsun » Wed Jun 01, 2011 1:39 pm

Exalted Wombat wrote:Don't forget the mandatory class on making quill pens for the Creative Writing course
That would be week one, you silly boy! Get it over and done with.

Besides which, they'd need something to mark the tape with for the whole of year 2 would be spent learning to splice tape!
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Re: Who Chose The Magazines Name?

Postby . . . Delete This User . . . » Wed Jun 01, 2011 5:49 pm

Folderol wrote:Oh dear, I guess it's too late for Jim now, but logic should really carry a government health warning. Once you start playing with it you get sucked in. It's taken me years to recover from my addiction and i still get odd twinges :roll:

Unless you really need high speed, I always recommend going totally 4xxx series. Much less critical on layout etc, and you can use un-stabilised supplies anywhere between 3 and 15V.

BTW a crude but effective switch de-bounce consists of a series 100k resistor and shunt 100nF cap feeding one of the inputs of a 40106. This sort of thing is also commonly used to provide a degree of static protection for inputs that may be 'floated'.

someone's been on the funny juice again haven't they Will?

methinks you meant to post that elsewhere....
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Re: Who Chose The Magazines Name?

Postby Folderol » Wed Jun 01, 2011 6:54 pm

How the 'ucking hell did that get here. I thought the forum had just eaten it :frown:

I swear there is an evil anti-life roaming around looking for ways to screw everything up.

{mutter} {mutter}
I'll try to repost it where it's supposed to be!
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Re: Who Chose The Magazines Name?

Postby Zukan » Thu Jun 02, 2011 10:00 am

Will, you gotta chill with the fungii m8......
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Re: Who Chose The Magazines Name?

Postby Folderol » Thu Jun 02, 2011 7:07 pm

Zukan wrote:Will, you gotta chill with the fungii m8......
I swear there's no mushroom here :crazy:
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Re: Who Chose The Magazines Name?

Postby turbodave » Sun Jun 05, 2011 10:44 am

Can I add that I have always seen the Mancunian angle in the title of the mag ...as in sound (good, solid) on sound. Mancunian to Mancunian..."How ya doin?"
Mancunian replies "sound!"

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Re: Who Chose The Magazines Name?

Postby sthum » Sun Jun 05, 2011 9:48 pm

.



Thanks Ian and congrats on a truly great magazine!!


Sthum.......




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Re: Who Chose The Magazines Name?

Postby James Perrett » Mon Jun 06, 2011 3:10 pm

hollowsun wrote:
Of course, no drop-ins or anything so you had to get it right or rewind and start again so you had to be able to play and instrument and you had to mix as you went. You had to be extremely inventive, ingenious, creative and resourceful.


I must admit that I would sometimes break the no drop-ins rule. Sometimes it worked while sometimes you ended up with a momentary drop out.

hollowsun wrote:
If I was designing a music technology course, I'd be tempted to not allow any student access to a modern DAW (hardware or software) until they'd done three months on mono SOS with a single tape machine, three months of stereo SOS with two tape machines, then a further three months with a 4-track MTR and the final three months of the first year with 8, 16 and 24 track MTR with a real desk. That way, they'd learn to be creative and inventive and resourceful, think on their feet, improvise and compromise, learn how to use (and abuse) gain stages and routing and mixing on the fly and so forth and none of this 'fix it in the mix' nonsense - get it right at source, work with limitations, make creative decisions early on (and live with them) and so forth. The (ahem) 'qualification' they came out with would still be useless but at least they'd be better prepared for the real world!

Actually I would certainly miss out the 4 track stage and probably the 8 track too. I find that you have to spend too much time thinking about the recording process with 4 or 8 tracks. I was perfectly happy doing sound on sound with a 2 track Revox and could produce results that were much better than other people trying to use more tracks.

James.
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