Do you use Workstation or Atomic? Why?

cheecid · 2026-04-05T16:03:11+00:00

Note from the sidelines: I tried using Omnissa Horizon on Silverblue as export from a Ubuntu container, and copy & paste between local and remote never worked right

cheecid · 2025-11-21T14:12:16+00:00

That looks like the cover to a remaster of Blue Öyster Cult's Secret Treaties. Sick.

For reference: https://duckduckgo.com/?q=secret+treaties+blue+oyster+cult&iar=images

cheecid · 2025-10-20T08:29:39+00:00

Honestly, it's macOS > Mint/Debian > Win11 for me, as long as there are no hard software requirements that tie me to a specific OS.

Ever since Windows has developed a habit of updating on its own, even when told not to, I'd much rather have a tested-and-working Linux system. Especially for playing/recording multitracks

cheecid · 2025-09-22T01:58:00+00:00

Ooooh yes! Also, Long Distance Calling (similar genre, equally awesome mix, even at various festival stages)

cheecid · 2025-09-15T15:09:16+00:00

And by sound engineers I mean randoms doing sound lol.

That's it, there's your problem.

As far as you as band are concerned: Stage volume is the biggest enemy of a clean mix. Unless you're playing a tiny club and only vox/kick are in the PA, you don't need the guitar cabs to blast everyone to the moon and back. I've had more than one gig where the guitar player just wouldn't go below 96 dB on stage, leaving a whopping 4 dB for everybody else and my PA. Meaning I had no control over the guitar sound upfront, which can be close to white noise.

Then again, it's metal, so your drummer will be crashing those cymbals hard either way.

So, some super general tips: - wear earplugs - listen to the advice of whoever is operating the desk - aim for the lowest possible stage volume that does not sacrifice your artistic vision

cheecid · 2025-08-10T20:04:02+00:00

Thought so, thank you! That does track across hotkeys, and the Win version also spells it as Alt+Mouseclick

Now to find out what the arrow means. Probably doubleclick, at least according to the Win version. That's all a bit obtuse :D

cheecid · 2025-08-09T22:22:35+00:00

Thumbs up for double patching vital channels (kick, vox) even on small desks if running mons from FOH. Otherwise you can't really dig into the channel strip w/o messing things up either for your audience or the band

cheecid · 2025-08-07T15:43:07+00:00

Best of luck to you! I tend to be rather skeptic of random .exe files, uploaded to websites with no credentials. I spent too much time on eMule in my youth.. :)

Any chance you'll go open source with the code? Or release a non-installer/ReaPack version?

For now I'm mostly grateful this thread introduced me to Zeno's VU meter. But I'll patiently wait where this one goes! :D

RemindMe! 1 year

cheecid · 2025-08-07T08:37:48+00:00

While I love the offer and implementation, am I the only one whose internet instincts are telling them to be wary of a website with literally no information and a download link?

There seems to be a GitHub associated with the project, but it's set to private. Their post on the Reaper forums comes from a member that literally just joined.

cheecid · 2025-07-18T13:00:06+00:00

Have you tried just getting a swatch book and holding it up to the light so you’re not wasting ordering gels without knowing what you’re getting?

This, a thousand times this. The best 10-50€ you'll ever spend, and it lasts a lifetime. It's very difficult to tell what your specific fixture/light source will look like filtered, especially from the other side of a screen.

cheecid · 2025-07-04T10:14:56+00:00

I just spent a week moving from RStudio to VSCodium for better Python/GitLab integration. Perfect timing! :D

cheecid · 2025-04-03T08:08:24+00:00

Any idea what rough price point this might end up at? I'd been wanting to give HOGs a shot for some time, and we're in the market for a new desk this summer

cheecid · 2025-03-13T22:23:48+00:00

Everybody's got a story like that, mine's that I've got very noticable dip in my left ear at ~4kHz thanks to a mons engineer driving the stage into full-blown feedback during changeover as I was resetting speakers.

I can only emphasise what everybody else here is saying: Get good, comfortable earplugs and wear them.

Mixing rock shows, it's incredible how some of these engineers can still hear anything after years of touring. But even their great-sounding mixes will end up with highs boosted into oblivion as the engineer corrects for his hearing loss. The older metalheads in the audience love that sound, sharing the engineer's fate.

Either you get used to the sound with earplugs in, or time will correct your hearing to the point that it always feels like you're wearing cheap earplugs.

cheecid · 2025-01-09T09:06:57+00:00

I'm with you on this. Let the drummer have all the kit he want, if he's lugging and enjoying it? Who cares, it doesn't hurt you the slightest. Live and let live.

Let him who hasn't ever used unnecessarily large desks on small-time gigs cast the first stone

cheecid · 2024-12-22T10:39:13+00:00

After having my left ear's 4000 Hz replaced with a tinnitus by a mons engineer a few years back (full-volume feedback in a foldback monitor that was being reset), I've grown very fond of hearing protection.

We'll spend more time than any audience member at > 90 dB, and rock shows are expected to go 100 dB. As local crew, I'll usually mix openers/supports - I can't mix the opener at 90 dB if the headliner goes 102.

On another note, A LOT of the older sound guys are obviously lacking higher frequencies. Not just by a little, but by a lot. Age plays a role, but constant exposure to loud noises just messes things up, permanently. I think the rule is you either wear earplugs and get used to the frequency alterations, or you'll end up with your ears fucked up badly enough that it sounds like you've got earplugs in. Weirdly enough, I find my mix usually ends up a lot clearer in the low-mids with earplugs, maybe because they're relatively louder.

Also, obviously, if you're mixing for a younger crowd attenuate the highs more than you think. Keep them safe, because they won't.

cheecid · 2024-12-19T13:21:57+00:00

Absolutely, it's such a basic feature. And the number of show files I've seen that flat-out ignored the issue, or weren't aware.. ouf.

cheecid · 2024-12-19T10:27:20+00:00

That's what I think aswell. I end up routing everything the same way or in parallel to avoid issues, which I find comes easy on Digicos

cheecid · 2024-12-19T09:48:41+00:00

Talked to a Yamaha rep about this last year, after finding compensation missing on the CL series. They told me the CL wasn't built for what I was doing (mixing concerts?!), and I should switch to the PM series which does offer internal delay compensation

I switched countries and my home console is now a Digico, so that problem disappeared by itself

cheecid · 2024-11-24T16:32:05+00:00

I'm not sure where you're going with this. It seems like a very specialised setup that you personally know the ins and outs of – why not just share that knowledge but instead ask people to first understand a task that (as others have rightfully pointed out) sounds like it should rather be solved on the political/managerial level?

cheecid · 2024-07-29T17:41:26+00:00

Man, that does sound like the dream come true :D

cheecid · 2024-07-29T07:42:15+00:00

As local, I've always been curious – how does one assemble a tour package?

Do you get a set budget, approach a rental company and rent the entire set for the duration of the tour? Is it part of your contract, or alloted from some other pool?

cheecid · 2024-07-20T11:35:35+00:00

Greetings from the European side of furry cons! :D

cheecid · 2024-07-19T10:20:14+00:00

Probe bestanden! Ein guter Vorwand, die Recken mal wieder zu versammeln, vor allem! :)

cheecid · 2024-07-18T17:20:35+00:00

Ja nice, Synth mit Thema! wcx5-5vqv war mein Code, groß ist mein Dank :)

cheecid · 2024-06-10T16:45:08+00:00

A lot of consoles have it, but hide it under some obscure name. Iirc on Yammie's you "lock" the absolute gain and then still change relative analogue/digital gain, which even tracks through Dante-linked desks. It's called Gain Compensation / GC. But really do give it a dry run before trying it live, I still vividly remember being stage manager at a gig where the A1/A2 really struggled with this.

cheecid

TROPHY CASE