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Post by popmann on Dec 6, 2017 13:45:59 GMT -6
When I do that in 9.5, it still isn't timestamped properly. Weird thing is...it appears to have a timestamp in the Pool...but, take that file to Mixbus or Logic and neither sees it as having a timestamp. Do an "export audio mixdown" and both see it and respect it fine.
I found the workaround, which is SO 1998 tech--is to pencil in digital black at the beginning of the file....then you can do the track export(or the above render in place or bounce selection), and it will be rendered from zero.
There are so FEW things that Avid really gets right (IMO/E)--consolidate files is one. Take/playlist management and comping is the other, but everyone has copied that part by now and potentially bettered it. I don't do enough of that to put a huge value on it.
Render In Place Bounce Selection Export tracks Export Audio Mixdown (from channel output) Events to Part Export Track Archive Export pool Backup Project
That's a lot of options to not include a simple track level timestamped export of a mono track. The Render in Place dialog is the "right" one, IMO. That should be the same dialog for "export tracks". IMO.
I guess I'm a little weirded out because I remember BEFORE timestamps--when everything had to be rendered from zero (where Consolidate Files started I might add)....or you had to print a few clicks before or after so you could align by that...but, it's been somewhere between 15 and 20 years since the industry decided that Broadcast WAV and AIF (both PCM files with a timestamp header) would be all anyone used. If ever I seem OCD about compensation--same deal--it directly affects the timestamps of the recording. If Logic chooses to mis compensate for some bypassed plug ins, the recorded timestamps are now incorrect.
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Post by popmann on Dec 6, 2017 11:42:58 GMT -6
I wasn't aware I could run a bounce that allows me to export all tracks simultaneously, that's pretty cool if I want to send tracks to a mixer. Or if you ever want to play those tracks again. Saving project folders is a temp backup thing--as in while you're working on something, you back up the project folder. It's not an archive solution. I've got 20 years of digital recordings on my backups. There have been difference softwares and hardware recording systems involved. Name a DAW--give me 15min, and I'll have any of those multitracks imported ready to be....remixed....overdubbed onto...examined...whatever. I can't open any of the project files. Hardware gone. Plug ins gone. Software versions gone. I'm not saying you can't take the Logic Project folder and drag all those AIF files into something and sort through them--which you understand by default it keeps every take of everything you recorded--so, you might have 7 or 90 vocal AIF files--none of which will be labeled "final vocal comp", which is, IMO/E the only vocal track you need to archive. 3 or 10 years from now there's no way in hell you have some memory of which phrase came from which... Anyway--yes, sure you ALSO need to be able to do that to send the tracks to someone to mix, but that's not the value in storing non proprietary files.
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Post by popmann on Dec 6, 2017 11:36:17 GMT -6
Cubase users...no one exports raw tracks?
I just exported a kick drum track as a timing reference for some other tracks I was exporting....this track was RECORDED in Cubase 6(Origin), exported to LPX (export1) however long ago...Cubase9 opens the original file/project--export again (export 2)...and I can't get export 1 and 2 to null in Logic. I can get it to MOSTLY null...once you make up for the fader and pan law differences, because Cubase can't export things without feeding it through their mixer channel and applying everything there...but, the lack of a simple track/edit level export is just an odd omission to me.
I went into the 9.5 Pool to see if maybe they added something there...nope--export pool exports a proprietary Stein berg archive format. Any export tracks dialog exports a non timestamped file and accompanying XML file--which means sample accurate transfer from one Steinberg product to another.
What am I missing here?
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Post by popmann on Dec 5, 2017 19:29:53 GMT -6
Cubase's terrible export method got me thinking I've never seen this discussed: what's your archival procedure when you're done with a project? Do you just use the app's "clean up" function and just move the project folder to a backup drive?
Having done time in cub-i-hell doing IT access control, thus folder design and permissioning, I developed a structure years ago that ensures that I back up the non proprietary timestamped PCM files:
MultitrackRaw MultitrackProcessed Mixes Masters Misc
It's actually a little more layered....but, you get the idea. Processed is where I put hardware renders....and if I tune anything....or do something drastic in editing. These days, that folder remains pretty empty.
I don't usually even back up the project files. Sometimes, if there's a really elaborate string arrangement or something, I'll back it up and save a SMF....as a Hail Mary that might be useful at some point. Misc also gets things like lyrics and hardware recall sheets, when that was relevant.
one thing I will give LPX--it's export is flawless. Export all tracks....ignore fader/plug in...gets a folder full of mono files for mono tracks and stereo for stereo....edits/fades....timestamps....uniformly named....rendered from zero for compatibility with antique systems that don't respect timestamps.
What's your procedure for consolidation/archiving finished work?
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Post by popmann on Dec 5, 2017 13:20:51 GMT -6
Jiggling wires or Mixbus? Or both? Ha.
Right click "update origin"....fucking thank you. I sometimes work with a drummer who can't seem to ever get his sync right....then I can use my tracks that Logic timestamped incorrectly--move them into place and update origin.
Couple of things that bug me.
...as an MCU user--the new "visibility zones" in the mixer configurations don't reflect on the faders--even though that what the faders mirror--the current mixer config (used to be mixer views). Not sure if there's a setting I'm not seeing...or if I need to simply not use them. Too bad--it's a nice visual organization thing to be able to align things to the left, center left, or far right of the view/config. But, it's confusing when it looks one way--but, the faders are in a different order.
And the exporting. Seriously, why can't they update this with a "ignore fader/pan/plug in" and know that I ALWAYS want a mono track exported mono. I thought for sure in these 6 or 7 years, they'd have gotten THAT right. Their "export track" exports it as a non timestamped PCM file with accompanying XML....so, suitable for ONLY importing into another Cubase session. Maybe I'm missing something. Let's say I've recorded a guitar track--firs thing I do is clean it up--45sec of snip snip fade fade, and it's digital black when I'm not playing. Cool. Now I want to export that. You have to hard pan it (to remove pan law volume change)....set the fader to unity....bypass any plug ins....THEN do export audio mixdown--THEN, if it's mono, select "mono downmix" in that dialog. When I finish projects, I literally do a "save AS" so I can reset all the channels on the mixer for a two pass batch export (one pass for the mono--one for stereo tracks).
Logic? "Export selected tracks (or regions) as files"--one dialog....out they go as timestamped AND rendered from zero (for old system compatibility) whatever format you selected. Mixbus is more like Cubase's Export Audio Mixdown where you check the channels you want exported--only, it exports mono to mono....and it has a check box that says "ignore plug ins and volume settings" or something. Why would you need to change your mix channel to simply export the edited track?
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Post by popmann on Dec 4, 2017 21:13:37 GMT -6
The last time I used ProTools was v10 native...and that's exactly what I thought "it works...you just have to keep jiggling the virtual wires"--cutting stuff off and on... #sameAsItEvahWas real men mix in MixBus32c.
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Post by popmann on Dec 4, 2017 15:55:34 GMT -6
Life saver. Thank you.
Here's the thing about this greased pig...whole 36 track 88.2 mix going with the buffers set to 2048 and I think "what would some horns sound like on this?"...open Kontakt, 15 seconds later, I'm recording Session Horns Pro latency free while the whole mix plays. On...you know...a decade old Windows machine.
I'm gonna do this project in it...I'll probably have to buy this one unless something horrible rears it's head.
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Post by popmann on Dec 4, 2017 15:01:50 GMT -6
Hey....when did they make the decision that the mixer view didn't need access to the polarity and input trim controls? Just because Logic doesn't have them on the mix AT ALL....doesn't mean there's not a functional need.
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Post by popmann on Dec 3, 2017 15:55:34 GMT -6
You know the difference...right?
AC701 tube. Like a M49, like a 251.
No modern mic (other than telefunken recreations because Oliver stockpiled them) uses them because they're so rare--it would be irresponsible to design a new mic to use it. Only difference in a U67 and M269c. But, also Bill is right, IME-new mics don't have the fairy dust. that isn't the tube. Stayne (at Innertube) makes wonderful tube head amps that when you put it in a U87AI, it's a fraction fo the "great" as putting it into a vintage 87i. I do think it's interesting that no one seems interested in reverse engineering the 701s....given that they DO have a "something" in that vocal air band that simply isn't in other tubes. I can't imagine it would be hard to manufacture a modern tube that comes CLOSE...but, it's cheaper to just use ef86s or 6072s, so that's what modern makers do.
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Post by popmann on Dec 2, 2017 21:21:29 GMT -6
Besides the launch time, which has always been truly painful on Cubase....this is snappier. On both my OSX MBAir and the antique decade old Core2Quad.
And besides UI "snap"...I opened a C6 project I was working on (old PC hardware) and having some trouble with playing Keyscape WHILE the large 88.2 project ran...works flawlessly in 9.5.
I in no way love the docked/zoned thing (even after a year on LPX), but hit f3 and the mixer comes up full screen, hit it again, it goes away--like it's always worked. Frankly--that's always been a good practice of Steiny's they may implement some new way to do something, but they take care to not remove the OLD way when they can.
On thing that scares me a little is that they DO seem to be trusting the devs for latency compensation...maybe....the Voxengo works now as designed (which intentionally "lies" to the host)--but, I've been inserting all kinds of latent stuff all over the mixer and I can't seem to get the loopback compensation off--so...somehow they seem to have kept it tight. I was scared that the first overhaul since they took on Avid's TDM system would break the reason I CHOSE Cubase. Initial testing in 32 and 64bit engines seems to say it still works. It's a simple loop test--not like I used to have with racks of hardware inserts and auxes...but...good sign.
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Post by popmann on Dec 2, 2017 18:40:38 GMT -6
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Post by popmann on Dec 1, 2017 10:09:56 GMT -6
You know you can't replace power tubes one by one...?
I would put money on it being the power tubes...I had to go through a several of New Sensor Mullard 34s to find a pair that would operate without random garbled noises.
Preamp tubes TEND to go microphonic...so feedback at high gain....rumble at higher volume--fail a tap test...but, "noisy" on a "guitar amp scale*" IME, comes from bad power tubes. And Russia makes plenty of bad ones in "new" boxes.
I'm not sure what caused you to retube, but...try the new preamp tubes with the old power tubes. And yes-you need to set bia for power tubes, but....not for it to function noise free really. That's more a touch sensitivity thing at a certain volume...and to some degree (power) tube life. I have never been inside a Engnator, so I can't advise how stright forward it is....
*as opposed to pro audio scale which needs to be even lower noise
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Post by popmann on Nov 30, 2017 21:18:16 GMT -6
So, what I found was that the CC4 thing doesn't related to the Drummer Track class's output MIDI stream. It's a setting in DKD that doesn't change the stream coming from the Drummer track output....and while I know--yes, there's a script to REMAP the hat control CC number, that assumes there's a CC stream to remap--it's function is to allow your eKit's CC output high hat to control the openess of the hat in DKD...and script the change of CC atthat level rather than.
Believe me. I LIVED this for weeks. I now have it working in BFD, SD2&3, and Addcitive2.
The three methods Eric mention, two will convert the hat to GM with a binary high hat--open&closed. One (environment rewiring) will play crazy wrong high hat articulations, because it's the raw stream with the ArtIDs in original form.
I'm going to say this once really clearly: the best bang for the buck here sonically speaking vs ease of implementation, is to use the Procuder Kits in DKD...mute the room mics....the set up your third party VI to solo ONLY the room mics--and then connect it via Alias. render all to audio at the same time and you have a large chunk of "better drum sound" than DKD...without worrying about the technical stuff.
Doing that will get a perfectly solid sound that I can easily walk you through. There are SO many tech booby traps in marrying specifically SD3 to the Logic Drummer--like I said, I did it out of challenge principle. Apple could've implemented easily from the get go--they don't WANT you to do this....I'm not sure WHY, since they don't sell DKD expansions or anything...but, they definitely do NOT want you doing it.
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Post by popmann on Nov 30, 2017 16:15:57 GMT -6
I would bet all edits go away when going back--I know the Drummer is LI--QUID...I made the mistake of deleting an old scratch track it was apparently following...even putting it back, I could never get it to recreate.
that would be killer if I could convert to midi, delete a hit or two and put it back especially given that I NEED it to spit it's MIDI stream in DrummerTrack format for my script to work it's magic.
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Post by popmann on Nov 30, 2017 16:13:07 GMT -6
If it's the stock BFD v3 sounds, these are better by a good deal. The London Sessions is BFD2, which are better samples....and there are some newer and third party libraries for it that are as good or better than SD3 unless you just dig arena rock. They "play" better, too--likely more levels of dynamics....and they have MONO outputs so you can not ghetto rig recording as audio by hard panning all the kick mics to one side and such like you have to do in Superior's engine.
I can (and have) set up a BFD2 drum sampler at 32 samples on a Pentium4 with whatever 64 levels of velocity switching. It's the app made for that workflow. On the most "rock" tune, on this new record, I had to resort to using BFD2 Air Studios rooms for the kick and snare in addition to the SD3 Core, which are SO much more polite.
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Post by popmann on Nov 30, 2017 15:57:12 GMT -6
Did not know it could go back...interesting....it must recreate the hats when going back, because the notes get changed to GM standard. Good to know.
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Post by popmann on Nov 30, 2017 13:51:58 GMT -6
I don't know what the Reaper dev's actual political opinion is/was....but, I'm all for transparency that way. I think forums with what I'll call a "gentleman's agreement to not discuss politics" is the unnatural and potentiall unhealthy construct. It allows people to believe the craziest untruths--outside of actual political bent...because they're not discussed because they're "political".
I want a t-shirt that says "everything's political".
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Post by popmann on Nov 30, 2017 13:38:43 GMT -6
If you mean your right click option being greyed out, yes--that's a bug, but your doing that irreversibly changes the MIDI stream in way that will make SD3 not play the same beat. I was talking about your panned back goal of having the Logic Drummer play SD3 sounds instead of Drumkit Designer.
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Post by popmann on Nov 30, 2017 11:50:55 GMT -6
You need to learn to code Java....and know something about how drums are sampled and played to marry them.
I've done it. I did it out of principle, as an IT challenge...because easy, it was not. It took a solid week of reverse engineering, coding, and testing. I could've paid a great drummer to play on my next 5 years of writing for that time spent...
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Post by popmann on Nov 29, 2017 23:10:20 GMT -6
Demo available....FWIW.
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Post by popmann on Nov 29, 2017 20:08:28 GMT -6
Took me a while to figure out how you could possibly think anyone things RDC protocol is a new tech....it was my use of "will"(?)...as in this "will" be the most complete way to remote control your DAW--as in you can try a tablet, try some emulated MCU by way of a generic app, but RDC from a lightweight silent(solid state) clamshell laptop "will be" the most complete solution with the least set up time.
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Post by popmann on Nov 28, 2017 17:45:31 GMT -6
Funny thing--I went to find Al saying it himself, and found a video saying he keeps the toms in cardioid and the overheads in omni...now....so...YMMV.
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Post by popmann on Nov 28, 2017 15:12:18 GMT -6
And then....just as a counterpoint to this idea, I will point out that Al Schmidtt uses 414s in OMNI to mic "tom toms" (as he called them and I giggle)....with the idea being that rather than try to isolate, you want to lose all the off axis coloration and phase shift and just be able to bring it up bleed and all and sound good, only "not the toms are louder/fuller and you can EQ them"....
he uses Omni for most everything with LDCs....but, that particular use was the one that I went "WHA....but....?"
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Post by popmann on Nov 28, 2017 14:26:25 GMT -6
open source port 80 access is a future potential--it means it does nothing useful until someone MAKES an app (which might be simple HTML5 or whatever for a browser) to control it....it's an open source advantage and pitfall.
For me, this is yesterday's news....because, openness aside--using a phone or tablet to control it seems like awesome sauce--but, in practice, you have to set them to not sleep...batteries die mid session....you have to have solid Wifi in the studio--in fact, if I have advice for the Reaper devs, it's to make it brainless to set up it's own ad hoc wifi IP network connection to the device. That's when Apple's app worked here--they keep breaking and then fixing that aspect--which effectively made the app work well or laggy here in this studio--you DON'T want to have to relay on a WIFI router to connect the DAW computer and the device. IME. Sure that works "better than running across the room", but IME there's more lag, which is annoying beyond "play/stop" control....
At some point....if YOU'Re the one driving for yourself....remote desktop from the tablet or a solid state netbook/Air type latpop will be the ultimate remote control.
YMMV. Obviously.
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Post by popmann on Nov 28, 2017 10:47:15 GMT -6
I never get the notifications, either. FWIW. On Sierra...not as high as I'd like to be, Bob.
it's not like iOS....where....holy fuckshit, I feel like they time those "Install new iOS?" messages to happen at the worst times. I never get them while I'm sitting around watching TV orsomething--I'm always in a line needing to pulls something up on my phone....or using it as GPS and almost missing my turn to decline....
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