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Post by M57 on Feb 10, 2018 13:25:41 GMT -6
You mean learn how to solder??!! Hmm.. There couldn't be an easier way to learn, right? What's the worst that could happen? Well, if you pick up the wrong end of the iron you could burn your fingers and feel really stupid. I don't doubt for one moment that you're imparting both humorous and sage advice in one fell swoop. The more I think about it, the more I suspect it's not an uncommon occurrence for a rank beginner.
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Post by M57 on Feb 10, 2018 11:55:26 GMT -6
I just pulled out the Fishman rig for my Taylor after not having used it for ..well, uhmm MANY years. Of course it requires a RTS cable for the blend and phantom.. Any recommendations for a high quality cable? I kind of like those tweedy cloth finished cables, but I'm open to suggestions. Why not build one out of some quality mic cable? You mean learn how to solder??!! Hmm.. There couldn't be an easier way to learn, right? What's the worst that could happen?
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Post by M57 on Feb 10, 2018 7:28:40 GMT -6
I just pulled out the Fishman rig for my Taylor after not having used it for ..well, uhmm MANY years. Of course it requires a RTS cable for the blend and phantom.. Any recommendations for a high quality cable? I kind of like those tweedy cloth finished cables, but I'm open to suggestions.
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Post by M57 on Feb 9, 2018 19:28:04 GMT -6
Actually, I'm more in Wiz's camp. If I was more competent, I suspect I wouldn't use a limiter at all. Half of the reason I throw Logic's AL on the end of the chain is for safety's sake. In fact, the more I think of it, I should simply use Logic's AL as a meter at the bottom of the buss and just make sure it never kicks in. I'm guessing the FF limiter has a few bells and whistles, but there's nothing to the LAL. It's just a brick wall with an input level and a threshold.
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Post by M57 on Feb 9, 2018 11:29:13 GMT -6
I'll try Logics limiter next time I get a chance, just to see. Regardless of what I use to do the heavy lifting, I always put Logic's Adaptive Limiter at the bottom of the 2-chain and let it kiss the last 0.5db or so of transients off the top. It's as transparent as anything out there so I'm doing no harm. Call it paranoia if you must, but I'm just more comfortable with the idea of using a plugin that I have high confidence is Logic-friendly.
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Post by M57 on Jan 30, 2018 16:59:38 GMT -6
EDIT: I found this in the online help from Logic "Note: Smart Tempo works with single audio files. It does not work with recording takes or with track alternatives. Mulitrack recording files cannot be analyzed simultaneously."Bummer. I was hoping Logic would make me a steady drummer Yep, that's pretty much what I found - though you can track a stereo source to Smart Tempo. The only workaround I can think of off the bat would be to record just one track to Logic, whilst recording all the others to a separate DAW, then just drop them in the Logic project, and from what I read - they should conform. It's a PITA to be sure, but if it works ..Bam! - you're a steady drummer.
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Post by M57 on Jan 30, 2018 6:22:42 GMT -6
Yeah, It does make sense that some kind of flex has to be happening for the thing to work, but I don't understand how or why it would be applied to the original track that you might lay down using the feature to create the original map (until you change the tempi of course). If you were to copy the original to a new track, do the flex markers get copied as well? I mean, you can turn the thing off, then paste, right?
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Post by M57 on Jan 28, 2018 18:12:06 GMT -6
Any bugs with update or problems to report ? Nothing of consequence. Things stalled out for a while (I got the spinning color wheel) when I was altering tempi whilst listening to a track, but that kind of thing use to happen every once in a while before the upgrade. Changing tempo probably requires Logic to do a lot of calculations on the fly. Anyway, it timed out (I'm guessing) and suggested I restart my computer. I was able to save, so like I said ..nothing of consequence.
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Post by M57 on Jan 28, 2018 16:04:53 GMT -6
I'm pretty sure you guys are talking about exporting HH articulations. I was hoping to figure out how to do something a bit more mundane. I simply wanted to see if I could automate them. Specifically I was hoping that I could automate the Closed/Open control (which is what I think you are referring to), but that doesn't seem possible. I was able to find the "articulation set" feature and saw the articulation values the HH in a window with Switches/Articulations/Output tabs but I don't see how that relates to an automation lane. Digging deeper, I've done a little searching and from what I've read, the XY pad, Fills, Swing, Feel, Ghost Notes, and Hi-Hat controls can't be automated - though I'm pretty sure this is pre v10.4 info.
I guess what's confusing to me (and perhaps to others) is it appears that "articulations" are not all equal in Logic. Key-switching is my first thought when I think of how to use them. But there appears to be no way to apply key-switching to the HH.
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Post by M57 on Jan 27, 2018 12:00:22 GMT -6
We'll see - I just took the plunge - updated to High Sierra and updated Logic all on a circa 2011 iMac. No problems so far - Logic recognized all my plugs on update, and all I've tried seem to be working fine - X-touch boots right up. The Slate Suite is happy - Haven't loaded up Hollywood Orchestra yet.
Honestly, I've been absolutely thrilled to have gotten 7 years out of my machine with 0 functionality issues. If it blows up or becomes obsolete tomorrow, I can't really complain.
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Post by M57 on Jan 23, 2018 5:28:01 GMT -6
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Post by M57 on Jan 22, 2018 18:26:52 GMT -6
By "limit the range the fader throws", isn't that boxing it in, wouldn't keeping a sort of wide range be more natural, or am I mistaken? Limiting the range of the fader is like telling the engineer that he's not allowed to ride the fader as much.. Hence, more dynamic movement. E.g, potential more of what the artist was attempting to achieve via mic technique. At least thats the way I'm interpreting the issue.
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Post by M57 on Jan 22, 2018 18:04:54 GMT -6
I've been trying this out on instrumental guitar parts. Mostly melody parts that I need to be present and always "heard", but not sterile and crushed or manipulated feeling. My conclusions are that it's an amazing tool...but that it eeks the life out of things. (for lack of a better description) I can see using it if you want something to SIT in a mix and not move, but that's kind of anti-musical to me. Musicians move. That's where the emotion lies. At least most of the time for me. I find that I can get closer to where I want things to be with a gentle compressor (like an opto) to shape the line, and then an 1176 to lop off the peaks along with judicious automation. Or sometime vice versa on the compressor order. Vocal Rider works amazingly well, but it's too "obvious" for lack of a better word for me. It doesn't surprise me that it's in widespread use on pop vocals. It's certainly a time saver, but at the expense of the emotion of the music for me. I'll stick mostly to manual fader automation and appropriate levels of compression at this point. Thanks drbill. I've never thought of it this way - I think I may have given up on this plug for this reason without really understanding why. But the more I think about it, the more I think the problem can be mitigated. - Make the fader reaction time "slow."
- Limit the range that the fader throws itself.
- Automate the range to create the "movement" you speak of.
When I was using it I ended up useing B plus automation, so clearly I was intuitively fighting the issue you describe. But now that I better understand what it is I think I'll revisit this plug. I probably didn't use the slow reaction time. "C" may too time-consuming, but I bet I can put this plug back into my arsenal ..and retain the movement you speak of.
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Post by M57 on Jan 21, 2018 8:55:12 GMT -6
Let me start off by stating that I don't definitively know, but I'm pretty sure I received a similar e-mail from Waves something like a year ago. I didn't do anything, and my plugs still work. I'm quite sure I purchased lifetime licenses for the plug, at least that was my expectation when I purchased them. That said, I'm not sure about up-grades or up-dates, but I can tell you that if I was charged for the latter, I would be quite displeased. As long as I have access to the version I paid for, I suppose I can't complain ..but I do expect up-dates for things like bug-fixes to be free.
Diving in a little deeper - It's not the only reason I'm wary about buying too many products from Waves - or really, any third party software co that requires some kind of authentification link upon installation. It's one thing if they pull an Avid, but what happens if the company were to fold, or was sold to a party that refused to support "legacy" titles? I've been screwed before.
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Post by M57 on Jan 20, 2018 20:05:30 GMT -6
I noticed that the 'recommended distance for the 5's is 80cm, while the recommended distance for the 6.5 is 1 meter. My desks creates a distance that's much closer to 1 meter. Hypothetically speaking - which trumps? ..recommended room size or recommended distance?
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Post by M57 on Jan 20, 2018 13:45:03 GMT -6
In the amount of time the person spends Googling around and demo’ing various things couldn’t they just grab another take? Seems a bit like a (proposed) solution in search of a problem. Yeah, maybe.. Though I can see where perhaps after the session the producer or artist requests an artificial but real sounding double (See? I knew I could come up with one Actually, I can imagine when dealing with a track of a singer who runs out of voice in the process of getting it right. Hmm.. also, in cases where there's the issue of saving time and money. Heck I could see it marketed as a money-saver. Instant plugin double. Find your favorite preset and print. Send the singer home and create a choir.
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Post by M57 on Jan 20, 2018 9:11:36 GMT -6
Martin beat me to it, that ADT plug is great and have been using it for years. Yeah, but isn't that pretty much just a tape delay (emulation) with an oscillator or two to spice it up? If I was to double a vocal performance, sometimes I would be sharp, sometimes flat, sometimes late, sometime early. And to be a little more nit-picky - when I'm sharp or flat, my pitch doesn't fluctuate in oscillator like fashion. Real doubling doesn't create nearly as many phase related artifacts, no??
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Post by M57 on Jan 20, 2018 4:51:02 GMT -6
Yeah - a friend of mine was asking about it (no, really) so I thought I'd post the question here. I know he's not looking for a delay, and I'm pretty certain he wants to avoid phase and other effect-like artifacts (no oscilators, wow, flutter, etc.) What I'm talking about is much more realistic and sounding, emulating how a true double sounds - and it's probably a CPU hog.
On the timing end, it would probably do something like identify transients, then randomly shift them both forward and backward in time. Often the double will come in early, right? Similarly on the pitch end, it would have to identify notes, and then randomly raise and lower the pitch of each note.
Of course, if the goal is a realistic 'humanized' double, then complete randomization needs to be avoided and/or controlled. In the case of both of these processes, variables would include range of time/pitch shift and perhaps some kind of depth related function that's informed by a distribution curve. Similar options could be made for volume or even transient shaping, but I think a plug/function that could alter just timing and pitch would go a long way toward achieving the goal.
It occurs to me that these are features that could be executed manually in any DAW that has Flex pitch and Flex time-like features so it doesn't seem like too much of a stretch to imagine a DAW that features built-in randomization parameters. I don't own any third party Auto-Tune/Melodyne-like software, but I wonder if they have any of this functionality on the pitch end of things.
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Post by M57 on Jan 19, 2018 16:19:02 GMT -6
I'm putting this in the presets category because it seems somewhat related.
Are there any plugs out there that can take a track and apply numerous subtle (or not so subtle) random variations of pitch, timing, and other related processes to create a realistic doubled performance?
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Post by M57 on Jan 18, 2018 18:13:32 GMT -6
I used the NS-10's for MANY years and pretty much hated them for every one of those years, so I finally sold them a couple years ago to raise money for some other gear. I've been pretty much a headphone mixer since and I really need a pair of monitors. The Focal 50's were very high on my list, but this thread has me re-thinking this sentiment. Am I going to hate how hard I have to work to make them sound good? M57 , I think its worth coming by the studio to check em out! I personally do not feel at all like they are making me work harder. But if you were asking me what I wanted in a monitor, I would for sure, say that I want it to push me towards the results. But, If anything, its exactly the opposite. I am getting to the finishing point quicker with them. Hearing my gear better lets me hit the bulls-eye faster during my sessions. At least as far as translation goes, everything is coming out great, especially with the low end. I used the CMS-50 for about 5-6 years maybe. They are a stark improvement over them for sure. Way more clear and wide and open. Also higher SPL output, deeper sound stage. The center image is much more flat comparably speaking. This has helped me place the vocal better. I find them less annoying than the CMS on the off-axis, which is nice considering where my DAW screen is setup. So they are wider with less phase-shift. I think the The top end is improved as well. If anything is off, they can be majorly tweaked to fit the sound of the room properly. I left mine flat, and the built in iso-screws are genius. That helped quite a bit with the desk diffraction of messy low end. On stands they sound awesome. To my ears anyway. So you have the 50's in your studio now? I think I knew that, but forgot.. I need to stop by again.
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Post by M57 on Jan 18, 2018 18:12:30 GMT -6
I doubt that : anyway you could demo some? Maybe..
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Post by M57 on Jan 18, 2018 17:23:47 GMT -6
I used the NS-10's for MANY years and pretty much hated them for every one of those years, so I finally sold them a couple years ago to raise money for some other gear. I've been pretty much a headphone mixer since and I really need a pair of monitors. The Focal 50's were very high on my list, but this thread has me re-thinking this sentiment. Am I going to hate how hard I have to work to make them sound good?
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Post by M57 on Jan 17, 2018 17:55:58 GMT -6
Seriously, how do I get one? Not on the BA site as far as I can tell.
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Post by M57 on Jan 17, 2018 9:20:03 GMT -6
I really like that it's 100% passive - no drain on the power supply, but I have one technical question. Does the cap fall to the floor or flip back into the rack?
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Post by M57 on Jan 17, 2018 5:24:54 GMT -6
I have an open slot for this! Where can I get one?
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