ntfsclone(8) - Linux man page
ntfsclone -s -o - /dev/sda1 | gzip -c | ssh mike@ 'cat > /share/data/Clones/X41_2523-EMU.gz'
# prompts for password, but it is hidden. Enter it if the system seems to stall.

ssh mike@ 'gzip -dc /share/data/Clones/X41_2523-EMU.gz' | ntfsclone -r - -O /dev/sda1
12 days ago
Master fader clipping? - Avid Pro Audio Community
Tip from Roger Nichols, go to 2nd 'expert page' of TC limiter section adjust digital ceiling down a bit to -1 or -.5 that cures it, It was bugging me too!
mastering  finalizer 
20 days ago
Yamaha TX802 - opinions? - Gearslutz Pro Audio Community
In hardware, I suggest DX200 or FS1R

I've owned just about every Yahama FM synth made since 1983, and I absolutely love them all for different reasons. In my experience:

DX7/TX7 = noisy, but warmer and pleasingly rougher-sounding than those that came after

DX7 MK2 = a lot less noisy, more piercing and able to manipulate tones in real time. Can also do unison or stack two tones (but polyphony is cut in half to 8 notes)

TX802 = 8 DX7 MK2 synthesizers, each with 2 notes of polyphony. Each synth has a little bit of noise, so when you stack all 8 synths together to get 16 notes of polyphony, you wind up with more noise than a DX7 MK2 but less than a MK1. Sounds huge, though, and has some novel tricks up its sleeve.

SY77/99 = a different kettle of fish. Beautiful sounds but the FM engine is different and can't accurately sound like the earlier models. In a mix no one could tell. This one's for sound designers; it is the modular of FM synths.

DX200 = It's a non-noisy DX7s with a filter, effects, and a sequencer for recording knob tweaks. Programming it and sending DX7 patches to it requires abandonware that's available in a Yahoo group. Editor is PC-friendly but runs on a Mac with virtual machine such as Parallels or the free VM VirtualBox

FS1R = The most expensive synth of the bunch. Loads old DX7 patches but is more complex. Not as complex as the SY77/99 but damn close. No experience with this one.

Reface DX = Only 4 operators but does things that no other Yamaha FM has ever done. Not as warm as even a DX7 MK2, but when used with a sequencer or knob box, it can do some crazy gymnastics. Don't have this one yet.

So that's my experience. Others may disagree.

I have to ask: Why are you looking even though you have a DX7? One thing some people overlook: You have to use modulation effects to bring out all the shimmering features of an FM synth. I'm sure you've used modulated delays, chorus/flange, reverbs to add depth and texture. What's missing for you?
synths  dx7 
october 2016
The Wall of Sound | Motherboard
out-of-print handbook of acoustics written by Olson
acoustics  audio  sound  studio 
september 2016
Atmospheric Space - Gearslutz Pro Audio Community
they have the hold button as a standard feature. For years this along with a step sequencer
recording  studio 
september 2016
Structures from Silence - recording methods - Gearslutz Pro Audio Community
gear of the day. I borrowed a second OB8, loaded my same sounds and added this to the final session. In the control room I set up the main OB8 with the DSX and its sequence I was living with for a few months. Along its side was the second OB8. The 30 min piece was then created in one pass as I was interacting with the main OB8-DSX, breathing life into the sound mantra, shaping with the micro subtle changes I spoke of and also adding some distant harmonies on the second OB8. The Lexicon 224, the holy grail at the time was the only processing.
The piece was recorded just as you hear it, direct to 2 track - 30 ips Studer machine.
electronic  studio 
september 2016
What's your opinion on Modular Software? - Gearslutz Pro Audio Community
need knobs, sliders and more knobs, with zero latency and epic sound. Along with the interface the big piece here is the sound. My addiction to sound is fed through the visceral connection to hardware instruments and the impact and resolution of the pure sonics that comes from these tools, vintage classics or current synths and modular's.
electronic  studio 
september 2016
LCD backlight repair for Roland D-50+70 ? - Google Groups
>Discovered how to quiet D-550's backlight hum (made mostly by the EL
>sheet itself, not the inverter): either lower the frequency below 200 or
>raise it above 10000 (but stay below 20000). Interesting effect: raising
>the frequency shifts the color from green to blue.
august 2016
100-Year-Old Way to Filter Rainwater in a Barrel - The Prepper Journal
Take a new vinegar barrel or an oak tub that has never been used, either a full cask or half size. Stand it on end raised on brick or stone from the ground. Insert a faucet near the bottom. Make a tight false bottom 3 or 4 inches from the bottom of the cask. Perforate this with small gimlet holes, and cover it with a piece of clean white canvas.
water  hut 
august 2016
REW - When Are The Results Good Enough for Pro? - Gearslutz Pro Audio Community
FR close to the Bruel and Kjaer Curve. Eq is often needed to put this ball in the net. Decent response down to 30Hz.

Third Octave T30 bands not varying by more than 10% from the adjacents.

Sloping from say 400mS at LF to a flat 200mS through Mid to Top.

Early reflections in the first 20mS below -20dB.
august 2016
What settings should I have on my HS8S sub? (Low Cut/High Cut) - Gearslutz Pro Audio Community
Wow, these settings should be set in accordance to how your room is tuned. You will need to first measure your room's frequency response with a calibrated mic and sine waves. Then see what deficiencies you have and try to fix them with bass traps, acoustic absorption and diffusers, along with moving some furniture and maybe your studio monitors around, depending on what you get and where they are.
After you get your room situated, then you can go ahead and start setting up your sub's settings. You would set it so it fills up the frequency range so its as flat as possible without causing any spikes and buildups in the lower frequency range.
studio  acoustics 
august 2016
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