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Post by popmann on Nov 17, 2017 10:52:47 GMT -6
In short MIDI isn't....has never been....accurate in the time domain. You have to record audio....LIVE.
I will let Kat explain the routing needed to record a LIVE VSTi output as audio. It has little to do with resources of a machine. It's a PIA in both Logic and Cubase-it's the only way I record VIs that I PLAY. WAY easier/faster/flexible with a second box. But, that makes ZERO sense if you're thinking about recording MIDI. You're actually BETTER off at that point using the VI inside your DAW, because at least you'll only have the inherent PPQN grid rounding. You'll never get that MIDI OUT of the app without another loss/change in the time domain.
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Post by popmann on Nov 16, 2017 22:02:23 GMT -6
I changed DAWs so metronomes would be history.
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Post by popmann on Nov 16, 2017 21:58:34 GMT -6
Just use BFD. It's a better engine for an eKit.
Record the audio as you play....and go ahead and record the MIDI--then try to render the MIDI into THAT audio. Cliff's Notes**: you can't.
**old guy ref....before the internets, if you were busy partying instead of studying for a test, you got these little yellow books at the WaldenBooks.....
For perspective, I ran BFD2 here on a Pentium4 at 32samples (44.1) standalone. Since I was recording at 44.1 for the project, I had 10 outputs....8 analog, 2 SPDIF to the DAW.
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Post by popmann on Nov 16, 2017 19:06:45 GMT -6
I’m not sure why usb would be bad It's not when the TD25 has the USB. Sorry....he mentioned those MIDI to USB converter cables. I didn't look at the Roland box.
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Post by popmann on Nov 16, 2017 17:09:20 GMT -6
Yes--you shouldn't use a USB at all. All a "USB MIDI" is....is a midi INTERFACE with a USB plug--a MIDI cable is a CABLE....ie, not inducing it's own ANYTHING to the party. I've used long ones...short ones--it doesn't matter, because "MIDI: incapable of reproducing a human performance since 1986!"
That's actually the flaw in your plan. I've seen this work very well---replacing the functional need for a kit in a home studio. Doesn't involve MIDI. You set up a second PC running the drum instrument standa alone with a PCI/e interface that can run low latency and provide you the analog outs needed to record the audio as the drummer plays in you main DAW. The red flag in this for me is when someone says it's for saving time or money, I chuckle. It will cost far more in both areas. It's something you do because you HAVE to....not to save time or money.
Anyway....MIDI cable from the brain to your interface's MIDI input is the cleanest/fastest way to go.
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Post by popmann on Nov 16, 2017 16:57:45 GMT -6
So, now you have me curious....why does having software monitoring ON (or off)....but not listening to the input via computer change compensation? Because I can turn that off tonight....it's only on for the occasional prefader reverb send. Again--in Cubase this makes no difference to the compensation.
Maybe you could put the bug in Apple's ear to enable an equivalent to ASIO DM in Logic. I had no idea it wasn't there, since I have used an analog mixer so long....until three things happened in one day--1) I had a session one night that I needed it for an external sampler being played in real time via digital connection (thus my analog mixer did no good)....and then 2) the next morning someone asked here about why Cubase on OSX was so latent compared to Logic's DM (which no longer exists)....AND 3) Apogee sent me a marketing email about how users of the new Symphony Mk2 could monitor with "no latency" in Logic by Logic automatically switching on their hardware cue mixer....which I thought "well, that's just direct monitoring....why are they selling that as new?" Because apparently, at some point Apple removed it from Core Audio according to RME engineers. That's scary bad news. Every interface has a hardware cue mixer--why on earth would they intentionally disable DAW's ability to utilize it?
I switched on LLM for the sampler session....but, LLM should only affect the input monitored channel I'm not (typically) listening to shouldn't it?
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Post by popmann on Nov 16, 2017 15:17:29 GMT -6
You need all compensation on in any software mixer. We agree on that. If I had a recommendation, it would be to simply never put latent plug ins on busses until mix down--even in deactivated mode. Never disable compensation--you'd be making the root of my discontent worse--it needs to ALWAYS play back what's present at analog in and output while recording. Temporarily NOT compensating is just a different way to ensure the audio is placed wrong.
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Post by popmann on Nov 16, 2017 13:46:01 GMT -6
I have ACTUAL zero latency on my cue. Analog.
This is a straight up compensation issue. It's not horrible with everything off the busses--I prpbabaly wouldn't have noted that.
Turning off bus compensation is simply choosing to have the playback in the wrong place while you play to it in purpose. No--you need to remove any inserts from busses.
I tested the loop this morning after a reboot and got different error amounts than last night in the same project/session.
I am spending today transferring work to an old Cubase machine that is rock solid with multiple compensated inserts and aux busses. I am posting this as an FYI. You need to loop check this every session and at the very least check and make sure nothing is latent on your busses until mixdown. And I mean inserted at all. Good news is that Gain to sub for the lack of a mono switch and Waves API 2500 (the only compressor I ever put on the master buss) don't induce latency the buffer. If you turn off any up sampling the channel EQ is also latency free.
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Post by popmann on Nov 16, 2017 11:44:29 GMT -6
I thought I'd pass this little bit of utter stupidity along.
LogicX compensates for latency of plugs ins on busses (whether subs or master) ALL THE TIME. Even when the plug in is disengaged (turned off, grayed out).
This results, IME, in recorded audio being time stamped and played back in correctly. Therefore, the only viable solution is to not insert any latent plug in on a buss until you're done recording. Hovering the plug in, Logic will pop up the latency if applicable.
I had wondered how you could enable and disable them without audio glitches like Cubase. That's how--they're not recalculating it because they've already bumped the mixer in time for the inserted buy disabled plug ins.
I can't imagine what kind of latent hell Logic must be in combo with UAD plug ins.
I just figured the manual compensation offer last night....after a reboot this morning, that value has to change. So, I'm thinking of moving this EP production back into the old PC.
Side note, this is why you can turn off Bus compensation in the preferences--but then....you know....I'm....it's ALSO not in time--just just have less latency in what you hear on your software input.
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Post by popmann on Nov 15, 2017 14:39:27 GMT -6
That's the reference I saw. No idea who that guy is....
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Post by popmann on Nov 15, 2017 13:51:35 GMT -6
I saw someone in a video say "the biggest deal for me is the ew tempo track features"....and yet I can't find anything to do with that....does that guy mean the new metronome settings/accents? Or did something change with the tempo mapping/editing/warping that they just didn't put into a video?
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Post by popmann on Nov 12, 2017 11:47:39 GMT -6
Nothing can't be made better with chocolate. Appropriate analogy that probably doesn't mean what you intended. Butter....bacon.....chocolate. The universal Bettermakers.
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Post by popmann on Nov 8, 2017 17:20:45 GMT -6
I just grabbed this, and immediately put it on this Twangy guitar part I have in this song I am recording today and its perfect! Love the HPF, all this thing needs is a pre delay cheers Wiz Logic's "sample delay" plug in, set to milliseconds before it on the aux channel. Done.
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Post by popmann on Nov 8, 2017 10:17:14 GMT -6
So, it has PCI slots and a ATA33 controller. ....and REALLY late 90s. I feel like I bought a P2 for Win98....and upgraded the chip to a P3 a year or two later-that was my "Gigastudio and Quake3/UnrealTournament" machine....
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Post by popmann on Nov 7, 2017 23:15:20 GMT -6
The short answer is that it's not just buying an SSD and swapping one SATA drive for another. It's changing an operating system to use a SATA....adding in a likely PCI card with a SATA controller....maybe replacing the hot swap SCSI drive bay(s) with SATA drive bays....testing it and making sure it's all fully functional. RADAR would be what....a x86 computer from the middle/late 90s? Is it an early Pentium? Hell....it might be that they had to source ISA cards with SATA controllers!!
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Post by popmann on Nov 5, 2017 17:34:08 GMT -6
Waterfall action seems easy to make me happy with emulation....I mean--all of the duplicate it well to me. It's just a "nothing" synth action--only they go all the way down at the end like a piano, without the "lip"....It's not like a Hammond "feels" unique to me. Any Cx3 or various waterfall organ emus are fine. The thing they have trouble with (from a playing perspective) is latency. A Hammond is IMMEDIATE....I mean like....well, come over and play. Unlike pianos and EPs where you have a key moving a hammer to strike something....the organ is OOOONNN as soon as your finger is down. So, some of the better emulation boads actually trigger the note on message at like 60-70% throw--so that the note IS on when the key gets to the bottom of the press. Luckily, I've nicknamed myself "SlowerHand" , so it doesn't directly effect my playing--but, I DO feel it....and thus I get how for guys who really tear it up, that might be an issue.
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Post by popmann on Nov 5, 2017 14:08:14 GMT -6
I play the fake ones on a 88 key weighted board now, so.... #sacriledge
when my synth action board started to go....I already had the C3, which was all I really did with synth action for years previous.
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Post by popmann on Nov 4, 2017 23:44:23 GMT -6
%OSHardDrive%/Library/Audio/Plug-Ins/Components
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Post by popmann on Nov 4, 2017 17:09:31 GMT -6
I logged in and downloaded. Haven't had a chance to try....but, hopefully, it includes the Voce MidiDrawbar preset in the controller presets now--I gave them tons of MIDI info--recorded CC ranges and old implementation charts. They said it would be in the next official release.
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Post by popmann on Nov 4, 2017 16:59:55 GMT -6
Those are audio plug in files--not compressed archives. you won't be able to directly "open" those anyway. You need to put them in the default folder.....and making the plug in (code) available to your DAW.
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Post by popmann on Nov 4, 2017 12:54:36 GMT -6
Right click+open with....+ Archive Urility
While you're there, select "always open with..." check box if it's presented.
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Post by popmann on Oct 24, 2017 8:46:32 GMT -6
I pulled a song's worth of real drums into it to explore the "new" features--the cymbals from overheads didn't work for shit....the high hat didn't detect remotely correct open to closed graduation....but, the shells did fine to me.
I never tried to import a tempo map--I just pulled in the folder full of timestamped WAVs. It detected what they were and took it from there.
EDIT: but also....I'm not going to be the expert on drum replacement. I didn't bother to try to import those replacements back into the DAW....so YMMV.
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Post by popmann on Oct 23, 2017 19:44:14 GMT -6
But, I bet none of them beat....none.
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Post by popmann on Oct 23, 2017 18:04:58 GMT -6
yes--the entire principle of Stedmans is that the metal is angled, so that incoming air is redirected. From memory, the little diamond shaped "punches" have alternating sides angled in different directions....
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Post by popmann on Oct 22, 2017 22:44:13 GMT -6
FWIW--my comments was about Stedman pop filters. Only. No experience with other metal ones--and since nearly all mics have metal grilles....it's not like being metal causes the issue. It's the one design. Maybe it's others made out of who knows what....you should audition anything you stick there. But, I want to be clear it's not because of the metal....it's because of the specific design they use.
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