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No you couldn't. The connectors were designed so that the female end looked like "B" and the male end looked like "D", there was a notch in the female end that would only fit the male keyboard connection.

https://www.gearslutz.com/boar...

You could likely force it, but it will damage whatever you force into it.

For example here, here and here.

But I remember many more mentions of problems with NVIDIA drivers at Gearslutz. Obviously, that doesn't mean that there are always problems, I just took such comments as a sign to be cautious about switching to NVIDIA. I'll probably still do it, because I'm fed up with ATI. It's good to hear that you don't have any problems.

For example here, here and here.

But I remember many more mentions of problems with NVIDIA drivers at Gearslutz. Obviously, that doesn't mean that there are always problems, I just took such comments as a sign to be cautious about switching to NVIDIA. I'll probably still do it, because I'm fed up with ATI. It's good to hear that you don't have any problems.

For example here, here and here.

But I remember many more mentions of problems with NVIDIA drivers at Gearslutz. Obviously, that doesn't mean that there are always problems, I just took such comments as a sign to be cautious about switching to NVIDIA. I'll probably still do it, because I'm fed up with ATI. It's good to hear that you don't have any problems.

That's what I want for my living room anyway.

Buy a Home Atmos rig. I've been going around to Gearslutz and asking around here at the studio and nobody has even heard of Neo:X.

Your guarantee is invalid. I still have XP on a VM for running one thing: Rebirth.

Well ReBirth is now free software, and there are ways to run it on Windows 7.

Hmm... never mind about my PC not being anything special. Here is a Mac Book Pro graph I just googled:

http://www.gearslutz.com/board/attachments/so-much-gear-so-little-time/285773d1333712202-what-frequency-response-typical-built-laptop-speakers-mbp15.jpg

Clearly desktops have a much better range than laptops.

The fact is that "creators" are pretty passive about this law, hovering from moderately for to moderately against, but they have nothing like the sort of passion you see around these parts. Here's a forum I read, everyone here is a recording engineer or sound designer in feature film, television and ads -- the original poster is a professional associate of mine. Most are pro-SOPA, because they see anyone who's vocally against it as objectively pro-turnstyle-jumping, and the people that are against are pretty measured, they never invoke fundamental human rights, and the focus on the practicality.

The fact is, if SOPA passes, the winners are Sony Pictures Distribution, Buena Vista Entertainment, and MTV Networks. If SOPA fails, the winners are Google, Facebook and Yahoo; either way, the biggest winners are middlemen. The anti-SOPA corporations would have you believe that SOPA is about squelching new art forms and creative channels, but it's really about making the advertising, aggregation, and monetization of new channels more or less practical, nothing more or less.

Content creators just sell there stuff one way or the other, and the practical ways off containing illicit copying are evolving. I'd personally much rather content creators continue to get their share of the box office, and they get a cut of all the ad and anciliary revenues as they do now. If Google and Facebook win, the ad revenues all walk out the door through the new middlemen, and maybe Google will give artists a 70% cut of some first (and really last) sale, but Google's going to use their data and aggregations thereof a hundred times over to make new applications, offer new services and SELL ADS, all of which will make them money. At least when somebody like Peter Jackson does a deal with New Line, New Line doesn't cut him off at a share of the box office, and then take no action to prevent people from xeroxing their ticket stubs.

Since Slashdot is coming alive today with goofy hippies and their piracy justifications because of the PirateBay verdict, I thought it would be interesting to read the opinions of artists themselves. You know, the people whose works you pirate and justify as a favor in the fight against the record industry. The people you speak for but never asked an opinion from. The people you're ripping off.

It's funny how different the opinions of the artists are from the selfish leeches who pirate their works. Again, these are the artists you pirates have, for years, claimed to be fighting for (don't ask me how pirating their work accomplishes that).

Some choice quotes:

Surely the copyright owners who had their property ripped off are the winners.
Why is it 'bad news'?

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great imo!

"There has been a perception that piracy is OK and that the music industry should just have to accept it. This verdict will change that."

maybe not completely of course. but it's a start.

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i think piracy proponents are like the 21st century's hippies.

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This is Bloody FABULOUS News !

Dude, you're posting on a forum in which many professional artists and writers depend on the sales and returns from their music - most of which have dedicated their lives to learning, gaining talents, studying, being kicked down and struggling to get their music to the masses or to a level of professional acceptance. You are also surrounded by an even bigger group of people who want to make a career in music or music production in some form or another. Piracy via P2Ps is killing the future of many many careers and may if its left un policed make it almost impossible for careers in music to exist. I don't want a world full of thieves wrecking the oportunities for others and I don't think I'm alone in this thought either.

Grow Up !

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thats fantastic news. Have you checked out their site? total A$$-wipes

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what is really happening is that some people that have facilitated the theft of millions (billions?) of dollars of property have been found guilty.

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Good news, but these bastards are good at making themselves pass for martyrs in front of people...

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Piracy is theft - If songwriters, musicians, etc. get no money for their work there will be no good music. People have to live.

In the same way, where unscrupulous companies rip off other peoples equipment designs and have them made cheaply in the far east - it may benefit some people in the short term, but discourages anyone putting money into developing new and better products if they feel that they will not be able to get their investment back before someone rips off the design.

It all comes down to people wanting something for nothing and in the long run benefits no-one as everything goes down the pan.

Everyone deserves a fair days pay for a fair days work - piracy is just the same as stealing someones pay packet.

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Pirate bay was promoting themselves specifically as a website for committing crime, and I bet the vast majority of their traffic was crime. The same cannot be said for google, nor most ISP's.

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And so on...

Uh...why does it suck? A criminal website that existed solely to violate people's rights and make sure they don't get paid for their work has been punished.

Slashdotters fantasize about a legion of artists who are all in favor of the PirateBay. In reality, artists are happy over the verdict because this is how they make a freaking living:

http://www.gearslutz.com/board/so-much-gear-so-little-time/382706-pirate-bay-verdict.html

Hopefully I'm not drifting too far off topic here, and forgive me if this comes off like a big advertisement. Maybe not what the poster was asking for, but maybe it's helpful for somebody.

I think the first rule of recording outside of a studio (speaking as an audio engineer who works in a studio) is to accept that your recordings will not sound like they were made in a studio. I think the second rule is there's nothing wrong with that. Though the majority of great recordings thus far have been made in a studio environment, I am periodically surprised by recordings made in less than stellar conditions that sound fantastic. This is a subjective art. You probably won't be making Steely Dan or Alan Parsons records, but Jason Falkner, Jack White and even Bruce Springsteen have made some great sounding stuff under less than ideal recording conditions and environments.

Here's some starter ideas.

Software: REAPER = $50 (Free until you can afford to pay for it, basically)
Interface: M-Audio FastTrack USB = about $100
Microphone: Shure SM58 = about $100. If you don't have any room treatment (loosely "soundproofing") then this mic will be your friend. It sounds pretty good on most things from voice to instruments, too.
Subscription: TapeOp - Free one year subscription (trust me...you'll want this)

Don't forget a couple cables for your mic and instrument if necessary. Plug in your instrument of choice and have fun. Experiment with where you put the mic until you like the sound of it (and DON'T LET YOUR METERS GO INTO THE RED!) Pay close attention to how your choice affects the sound of the overall mix as you add tracks. Don't be afraid to experiment with software, sound or equipment. Remember, though there are good techniques, the only right techniques are the ones that sound good to you.

Also get onboard a good site like Gearslutz and read, ask and engage.

Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?

That'll be 5 cents, please.

Linux and open source is great and all that, but it can not be used for professional sound production

Oh really. Fascinating. How would you explain this then?

Decca rejected the Beatles and the problem is not with recording equipment or personnel (Come back when you've read all eleven pages!). The problem is with finding talented bands who are willing to put the work in. Often a band doing it themselves is a cop-out, there's a huge amount of work that needs to be done before they step foot in a studio and they're trying to short-circuit the process.

The Beatles put the work in before they even approached a record label, they did hundreds of gigs in Liverpool and 6 months in Hamburg without label backing. They were ready for a studio (insert Ringo joke), most bands today want to start recording after 3 months of weekly practice. Let's put it this way; 50 years ago, the though that the engineer may be a better vocalist, guitarist, drummer and bass player than the respective band members they're recording was unheard of.

I'm failing to see what value record labels provide to anyone in the face of online marketing and redistribution. Let's leave the last word on record labels to Mr Steve Albini

oh yeah, and you might check out the applicable sections at http://www.gearslutz.com/

Why are you asking a question about digital recording on Slashdot when there are so many better places to ask?

Just a few links:

http://messageboard.tapeop.com/ (my favorite)
http://recforums.prosoundweb.com/
http://gearslutz.com/
http://acapella.harmony-central.com/forums/index.p hp