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Post by popmann on Aug 6, 2022 13:16:29 GMT -6
I dropped some various guitar tracks. I had to make some on the spot, becuase it literally cant deal with there not being a click….but, I mean thats fine. It just meant I couldnt really sum a bass/guitar/piano arrangement and give it to it….but, it did nothing I found remotely acceptable to a simple strummed guitar, so I didnt go back through archives for something done to a click to try the harder test.
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Post by popmann on Aug 6, 2022 12:59:49 GMT -6
Did you use it to create drum parts ? As opposed to….?
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Post by popmann on Aug 5, 2022 15:22:13 GMT -6
I found Bandmate utterly useless. The Logic Drummer is 100x more capable. While using it with 3rd party samples took way more than most people will be willing to do...I did it, so...I was REALLY hopeful about Bandmate. My old Macbook is on it's last legs--no longer upgradable (OS)...battery needs replacing...so, I'd LOVE to do what I do without it. Seems silly to replace a Mac and potentially replace audio/MIDI IO and more for that one use. EZD3 works in Cubase on my PC tower, you know? And has the same mapping as SD3 kits I love...REALLY wanted it to be useful.
Wasn't. Obvi YMMV.
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Post by popmann on Aug 1, 2022 21:17:59 GMT -6
Just keep in mind that if you bus the drums….and that bus has a DISABLED plug in on it, it will still compensate for it, making the timing of that buss’s audio wrong. On a TRACK? Its fine to disable a plug in in terms of the timing being correct still. Also note theres a setting in the audio engine for compensating for tracks and busses….or only tracks….
“Drums are edited”….and youve rendered those edits to contiguous audio?
Honestly, I couldn't abide Logic’s shitty time stamping. Their engine would be off varying amounts during recording and write that as the permanent timestamp-so, forever wrong…then I had flex PITCH edits change the timing (?)…their midi was horrifying…even trying to capture their own hyperMIDI “drummer” as midi—internally via Environment or externally through the IaC bus….it just turned me off, their sort of playing too fast and loose with the multitrack timing. But, for just mixdown dsp, it was fine—assuming you know the “less than clearly documented” way it handles disabled plugs on busses.
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Post by popmann on Jul 25, 2022 14:50:45 GMT -6
I have a 661. Actually, only analog compressor left. "In case" something "needs" control on the way in. I've taken to using it on bass DI...particularly with the fretless, to give the fretless as little more attack. Subtle, but I think it makes a less subtle difference when you add mix compression.
I got it hoping to do both the bass DI and lead vocals...gentle slow always on squeeze on the way in--ITB limiter...but, every time I've tested such, I got better results with two serial plug ins on a not compressed track. YMMV. But, still--I CAN use it on vocals that go whisper to belt without the side effects the old La3a used to have. So, it's staying.
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Post by popmann on Jul 7, 2022 13:51:47 GMT -6
A and B are fairly close. I like B because there's a "electrical dynamic" thing going on with the high bass in A--which does make it seem "bigger" on some syllables, but more uneven.
C I have to assume is the change at the mic, which will typically make more difference than EQ/MJUC.
I would say, first impression, "A" would be the hardest to work with because of the uneven nature of it's "body"--that tends to get worse, not better with compression. B could just peel a -1db of 1k'ish...and probably a 2khz bell rise wherever your voice has "air"--usually between 8-13khz. Probably what I'd choose....and C, while easily worst sounding as is, COULD be a simple low (bell say 140hz) boost into a slow compressor away from fine--I'd have to hear it, but...it just sounds kind of like a lot a honky 57, which is what that mid tweak and HPF on an SM7 sort of makes it.
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Post by popmann on Jun 28, 2022 20:18:18 GMT -6
Without the archive I'd have said $5k street, and it was their most expensive mic at the time. They had the U9x mics that averaged half that($2500)...and the Cardioid only U195 that was half THAT (so, $1200'ish?).
...and they weren't called Bock yet. They'd have been called Soundelux.
#geritolShot
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Post by popmann on Jun 20, 2022 7:15:34 GMT -6
128@96 is too little time for a VI buffer. There have started to be Kontakt instruments that REQUIRE 128@44–which equates to 512@96. Disk streaming samplers bottleneck is single core CPU speed and RANDOM seek disk access time. The message amount to “something prevented the buffer from being filled in time”. Id guess its disk since thats such an elderly VI….I kind of doubt they're doing heavy handed input scripting. We could troubleshoot it, but whats problematic with setting it to 256 or 512? I run my box at 512 pretty much full time-and i refuse to play VI keys north of hardware latency. If i set it lower, its for an amp sim. Granted, this is on an RME PCIe….so, its LITERALLY 512 samples….where CoreAudio+USB/TB will add time and make it “feel like more”-so your 256 might be closer to my 512 in actual latency….etc….anyway, even if for those reasons, it ends up too latent for you, that would be the first trouble shooting—does more linear time alleviate the issue?
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Post by popmann on Jun 12, 2022 17:33:04 GMT -6
Waves lets you download the full IR 1 library from their site for free... which can load into Reverberate 3 with auto-created presets. It's in ".WIR" format. Just double checked. Is that just something you can rename ".WAV" and import it? Or has Liquidsonics specifically reverse engineered Waves' format?
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Post by popmann on Jun 11, 2022 20:48:26 GMT -6
It was my go to IR before Spaces2. Tip: if you use the "efficient stereo" version, you get an actual dual mono input matrix, which I've ranted about the lack of in software reverbs for years--as it allows you to pan into the reverb aux to define where early reflections slap. Whole collection of 96khz IRs or some great studios and scoring stages. If you use Cubase or Logic, there's an argument that the built in IR reverbs are good enough...and this represents kind of a "slight improvement"--but, if you're working in a DAW without a GOOD IR reverb (and collection of spaces for it)...it's impossible to beat for $30.
Is Spaces2 "$200 better than IR1"? I mean...it's better. But, there are far less "studio" IRs. For a point of reference, they were seeking to find out why Apple's Space Designer sounded so much better than third party IR reverbs with the same IRs they were making for their instruments. I think they succeeded.
I don't make IRs...I have downloaded some home spun of various hardware reverb units I was familiar with...and loaded them into IR1--they sounded nothing like the hardware (which I had sitting here at the time). No idea how much of that is IR1 and how much is conversion of whomever made the IRs. So, loading is pretty self explanatory...not sure about the making them yourself.
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Post by popmann on May 30, 2022 13:37:07 GMT -6
Yes--being able to manipulate the different mics and tape vs not...they jsut have simplified premixed version in the regular.
But, also...I literally wouldn't give you $10 for a string library without portamento for pop music. Sometimes I think people say they "don't care" about it...because they either do "classical wanna be scores for potential films"...or they don't understand that it's how you get ANY slide in a string library. And pop music strings are FULL of little slides. I feel pretty sure you couldn't duplicate Elenor Rigby without Portamento-to stay with the stated purpose of this library. I'd have to relisten...but, the ability to slide between two notes is HUGE. Legato is NOT that. That's just natural transition of CLEAN playing.
They might demo porta with long slides....but, example walking up a scale, then hitting the 7th tone (back down a half step) porta...is the sound of strings. It just slides back a little...I dunno--maybe there's too much disco in my blood...but, portamento is what MAKES pop strings pop strings to me.
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Post by popmann on May 29, 2022 14:30:09 GMT -6
Well, I think their "sales" don't ever get as deep on those licensed titles where they have to pay someone else. I've been watching the Studio Strings Pro...$499...and $299 (it's current sale) has been the deepest I've seen. Here's the thing...$387 and you get to work learnign how to USE it today...vs...wait 4 months and maybe save $80? Maybe this is me getting older, but...get what you need and get to work. I'd be more apt to research how their proprietary player is doing. The BBC and Abbey Road stuff don't use Kontakt...which I mean I hate kontakt's UI, but I think they've had some issues with their player software. But, assuming that's ironed on on whatever platform (OS+Plug in format) you use...I can't imagine waiting if you have work to do...and if you don't...you know...why buy? I've been curious about AR2...gassing myself...but, I have liked their Sacconi Quartet...I was surprised how quickly that worked for me--that's the "issue" I've always had with string libraries--how much work from idea to "that sounds like a string section". Obviously AR2 is like that only in THAT room...with THOSE mics...closer...anyway...I BELIEVE their custom player has all the "playable patch" built into it...but, I don't know-don't have one of those new ones myself.
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Post by popmann on May 25, 2022 16:40:58 GMT -6
RNDI. Mono. My LA610 is down for the count. I realized that was all I was using it for...bass DI...so, friend had an RNDI for sale...plug it into the Millenias...probably solved. I sort of want to go back and recut some bass tracks now. I've always preferred kind of "big phat tubey" DIs for bass...great on fader up--but then always fought to get them loud enough in the mix without being overwhelmingly phat...this is decidedly NOT big bottomed, BUT...I've never seen such a symmetrical waveform on bass. I can hear the bass notes speak clearly without being as "loud"...
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Post by popmann on May 25, 2022 16:36:20 GMT -6
Why are you routing out to different hardware IO? I mean, I can answer your question...but, I need to know what you're trying to achieve by doing that. The short answer is that other than analog summing, you have NO reason to route to multiple hardware outputs defined like that.
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Post by popmann on May 13, 2022 12:09:37 GMT -6
So how is bandmate working out for you guys? Its probably the only feature that interests me (I own SD3 and use Logic Drummer). Anyone who uses logic drummer using EZD3 and finding it better/faster/easier..... The great thing about Logics Drummer is that it can do an entire song arrangement including fills and variations from verse chorus bridge etc instantly... and its pretty easier to adjust the fills, by just splitting the region in the last bar of a section and sliding a knob around to change the fill till you find something you like. Also changing styles is instant as well... Are you finding EZD3 better at creating finished drum parts? Doesn't even have the capacity. This is more aimed at people who don't "get" the Logic Drummer....because they don't play linear songs. It allows you to come up with a guitar riff (only)...import it, pick a beat and use Song Builder from THERE--to inspire the rest of the writing session. Where Logic Drummer's AI strength is that it can lay out an entire drum part, start to finish for a recorded song. This isn't really AI. It's just doing a hitpoint detection and using it as search criteria (just tap2Find with audio input). Nothing wrong with that--it's just a very different tool for a very different workflow. Probably the more popular one--as when I tell people about Logic Drummer, I get a nearly universal "wait--you play the whole song, start to finish? i usually just record an idea and start building in the DAW"---and for THAT...the Bandmate thing is a better fit, probably. For me, what I'll call an "old school sit at the piano and write the song songwriter"...it's of limited use. Also note: it doesn't seem to even ATTEMPT to tempo map dragged audio...so, it's also a guitar riff you wrote and then record TO a click or there's a setting I missed.
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Post by popmann on May 7, 2022 18:32:22 GMT -6
Big issue I noticed is it doesn't seem to detect swing at ALL...which doesn't give me a lot of confidence this will be that useful. I need to check again, but I think that may be why I have better luck starting with Music Memos than Logic's Smart Tempo. Smart Tempo gets the TEMPO MAP fine, but the subsequent Drummer regions don't really work OFF the detection. I mean "follow" will bend it towards the swing you played...but, something happens in Music Memo's autogenerated Drummer sections that ALSO autofinds say a 20% 16th note swing...I end up using a LOT of those "custom" beats that come from MM's analysis...and manipulating them in Logic...where if I start in Logic and jsut pick a drummer--it's playing really straight until I dial in the swing manually--which sometimes just sounds like it's following poorly...not that I need to tweak the swing percentage ...
This looks like a tool best suited for guitarists who write a "riff"...and want a beat loop for THAT...vs the Logic Drummer, which can more take the WHOLE song...section changes, etc...and build a drum part with transitions and such. nothing wrong with that...lots of people probably do that.
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Post by popmann on Apr 29, 2022 21:58:35 GMT -6
The thing that stood out to me was the stuff about being able to adjust/add ghost notes…that kind of stuff. I’m not a drummer, so all that stuff isn’t natural to me. I’ve gotten to where I can program something pretty convincingly, but it just takes entirely too long. Like because I’m playing with pads, velocity - keeping it natural is kindve a pain. I’m a sucker for anything that might make things faster, easier and more convenient. That’s definitely worth $79. The Play Editor is part of SD3 and EZ2.
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Post by popmann on Apr 24, 2022 11:52:03 GMT -6
I'll save you trouble. Nothing is cross platform that handles large file systems. ExFat is so slow on MacOS, it's useless for anything but offline transfers of files...it apparently works OK On Windows, but I've never tried it there because "why?"
You need to convert everything to APFS and never plug it into Windows. Set up a file share to transfer files....or Fat32 thumbdrives.
There is technically a driver you can buy for MacOS (ehm...extention, since Macs don't use dirty dirty "drivers" sic) that will allow NTFS writing(MacOS has a driver in the OS to READ NTFS because without it they couldn't transition people from Windows). Every time you plug that drive into Windows, it will tell you it corrupt and needs to be repaired. Knock wood, it's always been successful, but it's an annoyance. I have a big 5TB HDD that came with the limited version of that...
It's cheaper to treat them as the separate systems they are with their own backup drives. If your big backup needs to stay NTFS, you can always just create a fileshare that MacOS can mount on the PC that points to it...functionally making your Windows tower a backup server for MacOS. But, honestly--nothing is really compatible besides old school FAT32 for thumbdrives. So, you can't really "share" storage that isn't NAS/IP sever storage.
...and if one wants to know how I know this? It's what killed the Hackintosh dual boot plans here. If I can't share my fast expensive sample storage, it means that one of the two will be a useless shell, in terms of music making...at some point, I was going to put OSX on...and JUST install duplicates of the SD3 Decades, since that's all I really use in LogicX for my custom scripted stuff anymore...but, PIA...didn't work out of the gate...couldn't justify sinking the time to make it work.
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Post by popmann on Apr 18, 2022 19:50:57 GMT -6
Why would you not just remote desktop? There are RD clients for an iPad, Windows of all varieties...I'm going to ASSume Android...
I've always gone Mac TO Windows...iOS TO Windows...Windows to Windows...but, I have a hard time imagining Apple doesn't have Remote Desktop function built into MacOS.
editing: you WOULD preferably have a laptop rather than a tablet. The tablet will WORK...but, it's...got odd scaling and touch issues...IME. vs, the laptop will be just like it's running ON the laptop--and particularly on a local network?
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Post by popmann on Apr 15, 2022 15:07:32 GMT -6
A modern SSD is PERFECTLY ok to do projects on...I mean you're not doing like 200 tracks 384khz, right? I don't know once you get out into some left field uuge resolution, but...I ran projects on my fast system drive on the new machine. 32/96 (the 32 float at the time due to a Mixbus bug)...40-50 tracks? I bring it up the since fixed bug, because those were relatively HUGE disk IO projects because of that...and didn't even raise the disk meter off 0 except for milliseconds scrubbing around...
This is antique half truth wisdom along with "more RAM makes the computer faster"...
Now, I WILL say...it's cleaner from a file management/backup standpoint to have your project files on secondary drive. And honestly, unless you're doing high edit density combined with 96k+, USB3 (and certainly USBC) is FINE.
Audio projects are completely different in the "need" versus virtual instruments, which are ABSOLUTELY gimped by an external USB drive. DAWs can preload and buffer audio files as needed to keep it smooth. Versus virtual instrument libraries that can't and have to stream samples AS you play them "live" in the process buffer's time.
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Post by popmann on Apr 12, 2022 18:35:24 GMT -6
That's not related.
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Post by popmann on Apr 11, 2022 20:10:06 GMT -6
I think every clip I've heard sounded good. In the direct compare to VINTAGE ones...maybe it's not QUITE as good, but I've had three of Blackbird's here at once, and sorry--those were three different mics that ranged from wonderful to sketch on the same voice in the same room on the same day. So--you know...I think they should get an award for getting CLOSE for what $800 retail? I mean there is ONLY "close" when it comes to vintage audio kit.
I'd love to have one for the vocals I'm about to cut of my own. And, to be fair, I usually think modern inexpensive LDCs sound like turd. Maybe I'm losing my hearing in my old age.
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Post by popmann on Apr 6, 2022 11:48:41 GMT -6
OP would be better off getting specific about the "killer feature" that seems vague to me...web remote? I mean you can do that a LOT of ways in Cubase...so there must be some specific type of control or something? If you're asking my advice, and I get that you're not ...I'd advise you to look into how you could do something "like that" with Cubase. The money thing seems more emotional than logical bottom line. You don't NEED every version of Cubase. Unless you're on a Mac. Then, sure...it's $70/year or whatever MacTax if you need to keep updating OSX, you have to keep updating Cubase, but it's still not LOTS of money. I listed the features specifically: - web based remote. Only remote I ever saw for Cubase was a transport iOS app and since I dont have a Mac (hate them thanks to their proprietary bullshit and the fact that they cost so much more to get a comparable performing machine), I think I’m out in the cold. If they have a web based remote, I’m all ears, please share! - wet/dry blend on every plug-in. Literally how the hell is this not standard?! - vari-speed with a simple ass scroll wheel, like a real damn tape machine! I stand corrected. Cubase was NOT the right app for you.
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Post by popmann on Apr 5, 2022 14:07:37 GMT -6
I think switching DAWs is often a waste of time/energy. ...and I say that as someone who has done it plenty, for various reasons over a long time. As to continuing to pay Steinberg...I mean, ok...I get that Reaper is cheaper. But, I bought v4 for $400 in like 2006 (crossgrade from DP3)...skipped 5 and 5.5 all togehther--not worth the upgrade price (IMO)...and bought into v6 for $150 in say 2010'ish? I had just built a new hardware machine for the SPECIFIC purpose of sequencing big RAM VIs...and the 64bit was now stable. Was i pissed that they've promised that as an upgrade selling v4...and ended up delivering it with v5? Sure. I used that until after I built this machine in 2018...I actually DID still use v6...until they had some kind of upgrade sale...something was like $150 or something. Means I've paid $700 over 15 years? I get that Reaper would be less than that...but, I'd point out that when I ran it through it's paces in 2009 building the new 64 bit machine, it was USELESS at integrating both my MCU extenders and the racks of analog hardware. So--it's been a long time, and they've consistently improved it. The biggest flaw is that it's made by someone who has no experience with DAWs FOR people who have no experience with DAWs. Hiring designers with experience would make the thing cost more...and it honestly IS "good enough" for a huge marketshare. Anyway--but, my point applies to IT--I'm not typing this to rag Reaper. If you love and are used to Reaper, it's likely a waste of time to switch to something else. OP would be better off getting specific about the "killer feature" that seems vague to me...web remote? I mean you can do that a LOT of ways in Cubase...so there must be some specific type of control or something? If you're asking my advice, and I get that you're not ...I'd advise you to look into how you could do something "like that" with Cubase. The money thing seems more emotional than logical bottom line. You don't NEED every version of Cubase. Unless you're on a Mac. Then, sure...it's $70/year or whatever MacTax if you need to keep updating OSX, you have to keep updating Cubase, but it's still not LOTS of money.
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Post by popmann on Apr 1, 2022 9:35:30 GMT -6
I'm just going to point out that using a sampled piano, even software, doesn't mean you have to record MIDI. Or honestly SHOULD.
I record audio of VI pianos. It's convoluted in most apps. But, as I've pointed out the mixbus folks--I'm not going to use the Kronos piano that's inferior to my Embertone Steinway (or whatever works for the session) because it's the hardware DP. It's not abotu MIDI sequencing...fuck that twelve times over. It's about better samples. You can buy a $10k digital piano and something like the Embertone or Ivory or Galaxy (trying to to imply props to a SPECIFIC company) will sound AND play better. THAT is what I want to record.
you can make arguments for acoustic vs digital...I leave that to the player to determine...but, you should be able to run a VI piano at hardware (meaning a hardware DP) latency on mostly anything suitable for VI work...and record that as live audio along side their vocal in the session. Not only no NEED for midi sequencing, you're losing the timing of the performance if you use it.
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