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Post by M57 on Jan 14, 2018 17:08:56 GMT -6
Thanks Mark, I know it can be done, but it's been so long, I don't remember how. It would be cool to simply set the Vocal Rider and say write or read, and then have that automation available to fine tune. It would most likely have dozens of smaller increment changes I probably wouldn't bother to do myself. K - just did it.. Put the WR in "Write" mode and in Logic bring up the automation lane on the track for the "Vocal Rider Fader" and put the track in latch mode. Hit play and it should write the automation. Then put everything back into read mode where you can tweak the automation to your heart's content. One thing I noticed is that the VR fader will not go outside of its set range even if the automation you draw asks for it. Of course, you can draw automation lanes for the range too
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Post by M57 on Jan 14, 2018 15:39:42 GMT -6
M57, with the automation operating on the original track and bouncing, wouldn't that just create a new audio track without automation which you'd then have to fine tune? Wasn't that the point? Kind of like treat it like clip gain so you can work with a nice even track. I did see automation lanes for all Vocal Rider Functions, I but I wasn't able to get it to write to those lanes - not that I tried that much.. I gave it one pass and got nothing. Probably have to put it in write mode AND press record or something like that..
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Post by M57 on Jan 14, 2018 12:06:57 GMT -6
I was just playing with this.. In Logic. Highlight the Region or Regions that you want printed with VR. It doesn't matter if the yellow "recording cycle range band" is on or not. Type: ^B (control B) or pull down File > Bounce > Regions in Place. you should get this.. Select either Leave or Mute depending on what you want Logic to do with your original track and it should create a duplicate track directly below the original that is processed. When I tested it my mono vocal track stayed mono.
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Post by M57 on Jan 14, 2018 10:30:18 GMT -6
How do you do that John? I forget.. I was going to bring up the same idea ..about printing. Anyway, the only way I know how to do it (in Logic, which is what I know you use too) is to mute everything but that channel and then bounce (bypassing all plugs and disabling sends) as if you were creating a mix. It creates a stereo track, which I'm not super happy about, but it works.
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Post by M57 on Jan 10, 2018 17:42:08 GMT -6
I never use mine anymore - though I can see that it would be useful if you need to punch out a quick mix. I'm more likely to use the Bass Rider as a time saver, but even there, I prefer my own automation.
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Post by M57 on Jan 4, 2018 8:08:19 GMT -6
I'm in.
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Post by M57 on Jan 1, 2018 5:25:52 GMT -6
The Soyuz 0-13 beat two KM-84's I had on loan by a landslide, really, and I love the KM84. Of course not everyone will have the same response as I did, but it really is in that class. So, for Warm to do a KM84 type mic, it had better be relatively inexpensive, because the Soyuz is $600, and believe me, it has it's own mojo. I'd say, $299, maybe $349, or don't bother. Point taken about what the 'competition' may be, but Warm's marketing schtick is all about replication of the classics. That's the real 'competition.' If you ask people what they'd rather have, a pair 0-13s or 84s, most of them would immediately pick the 84s ..and then ask you what a 0-13 is. It doesn't matter if the 0-13 is as good ..or even better - The 84 is the grail. Sticking to my guns ..$499 is the magic price point.
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Post by M57 on Dec 31, 2017 6:17:30 GMT -6
After listening online to every high end KM84 "clone" and owning the 3U KM84-inspired mic, I'm certain that only Neumann can make a KM84. Many people can make fine SDC mics, for sure... Well, given that WA's "clones" (or anyones for that matter) are never perfect - just real close - isn't that good enough? For a fraction of the price? Besides, what makes "cloning" a KM84 any more difficult than cloning a U-87, or a WA-2A, or insert name of classic gear of your choice here? I mean, they're all near impossible depending on who you talk to. The key is how close it comes to sounding like the original, and can it be substituted in similar applications with very few people hearing the difference.
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Post by M57 on Dec 30, 2017 19:53:45 GMT -6
I think you're all wrong and I'm sticking with my original choice. They're clearly getting into the mic game right now, and an SDC is a no-brainer addition. I'll go one more and predict they're coming out with a WA-84. My guess is $749 MSRP = $649 street.
The classic is discontinued AND KM-84's are like potato chips - nobody can buy just one. That'll be $1300 for a matched pair, thank you very much. Honestly, I wouldn't be surprised if it was less expensive. The magic price point is $499 ea. If they can do that..
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Post by M57 on Dec 26, 2017 7:50:34 GMT -6
I almost put compressor on the list! ..though I was thinking Vari-mu or VCA, but now I'm thinking.. What if someone came up with a Swiss-army knife compressor.. Kind of like DrBill's Silver Bullet, so you could audition, or better yet - blend compressor types? It's not a Warm type of product; they're into affordable replication. And it may not even make sense - otherwise the software people would be all over it, right? Oh well..
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Post by M57 on Dec 26, 2017 6:10:30 GMT -6
They've been on a tear recently, coming out with way more product than I would have ever guessed. I certainly didn't see the mics coming. My guess is SDC, but I'd love to see them come out with a ribbon mic.
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Post by M57 on Dec 26, 2017 5:35:33 GMT -6
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Post by M57 on Dec 22, 2017 13:04:57 GMT -6
I keep on thinking that I'll probably break down and buy some FF stuff. I usually have around two compressors in series on the 2. I really like the FG-Grey and the FG-Mu on the Slate VBC rack. I let the Grey do most of the compression (it grabs in a nice old-school way that I like) - and let the MU impart more color than compression. At that point, the dynamics are usually not there, but color-wise it's real close. From there, I usually put the Slate FG-X (which is not a limiter per se) next and let it do some heavy lifting and seasoning to taste (the transient and dynamic perception knobs and ITP slider are handy tools to have near the end of the chain). At this point, I like to have about 1db of headroom to play with, and from there I put Logic's adaptive limiter at the end, letting it shave off an additional 1 or 2 db off the top to taste. I like most of my stuff to end up with about a 10db dynamic range, so I have pre-set templates that are usually about 90% of the way there at the ready.
I think the Logic Adaptive Limiter is dead simple and pretty damn transparent. I use it at the bottom of the 2 on EVERY project. It's hard to justify spending so much money on bells and whistles knowing I'm more likely to get in trouble with than make things sound any better.
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Post by M57 on Dec 21, 2017 20:53:51 GMT -6
Interesting.. Assuming there's a fee or "interest charge" involved, they make money. The business model looks good; they're essentially giving you a loan. As a product, it's deviously brilliant. Once the customer has bought in, it gets harder and harder to get out because they're 'invested.' Regardless, assuming they hold the license until you've paid it off, they don't care if you bail because they can just apply the license to the next customer. If that's the deal they have with the manufacturer, there's minimal "inventory". I'm not saying it's necessarily a bad deal for the customer - I just like the business model.
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Post by M57 on Dec 20, 2017 19:20:18 GMT -6
"The link you followed may have expired, or the page may only be visible to an audience you're not in."
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Post by M57 on Dec 18, 2017 18:05:35 GMT -6
We'll see how much trouble I'm getting myself into. Not too bad.. I just spent the day with it. I took a song I recently recorded in Logic ( here) and duplicated most of the orchestral MIDI tracks - then replaced them with Hollywood instruments. (just strings, French horn and flute). There are still a couple things that I'm not happy with, but it's at a point where it's much better than the original. The performances needed a bit of tweaking here and there, and I ended up making the volume automation much less dynamic because the EW instruments sound much better if you use a lot of automation in the expression and modulation lanes, which is pretty much necessary to make them come to life. In some cases, I left some of the LPX instruments low in the mix for added thickening, but for the most part the EW instruments are a major improvement, especially where depth of tone is concerned. I think one challenge is going to be knowing which samples/articulations/scripts to use. There are definitely more features than I could ever hope to become comfortable with, but I feel like I should be able to get some good mileage out of it.
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Post by M57 on Dec 12, 2017 7:39:34 GMT -6
Yeah, I tried MM (I think over the summer) and it felt like a toy. I didn't even bother to try importing it into Logic. I guess I'll have to revisit.
I'm new to this so I'm not sure exactly how these things work, but I know that if I play a guitar part live (without a click), even when I want things to be steady, my tempi will vary by 2 or 3 BPM, and I don't think I want that. I mean, if I want to get a real drummer to play down the line, don't I want to give him a steady click? These days, my MO is to send stems to a drummer to be recorded in his studio, and I'm pretty sure there's no Logic there. I guess I'll have to experiment.
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Post by M57 on Dec 10, 2017 10:11:59 GMT -6
So I'm laying out a pretty straight ahead folk/rock tune in Logic using Drummer and I'm starting with a really basic kick/snare pattern and a shaker. As usual, I'm agonizing over whether I want things to sit 86 or 87 BPM. Then of course I start to realize that maybe I want the chorus at 87 and maybe the verses at 86. Hmm.. The bridge seems to sound better at 85 - but 86 will probably do, and some of the transitions from Chorus to verses feel like they need an ever-so-slight ritard.. Now obviously, I'm splitting hairs.. I could record the whole thing at 86 and maybe the butterfly effect will kick in in a million years and we'll all regret it, but then I get to thinking.. Wait a minute. When I start putting these tracks down, I may play some sections right on, or even push, the beat. While with other's I'm likely to be behind, etc. I know if I was playing this out live with a band, things would be all over the place in an organic push and pull of the beat, so maybe I should just pick the tempo and let it ride.
Is this common? For you engineer types, what's SOP in a pro studio when a band comes in? I'm assuming you forgo the click - let 'em play and then use a beat detective to map things out..?
What about you songwriters who do it from scratch? I mean, I can see if you need to change things 2 or 3 BMP, but do you guys even bother with petty mapping like this?
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Post by M57 on Dec 2, 2017 7:54:03 GMT -6
Pulled the trigger and went for the Hollywood Orchestra Diamond with the $200 discount the day before the end of the sale. Of course it's back-ordered but the Sweetwater site says it will be in stock in a week. NP, I won't be able to play with it for a couple weeks anyway. (Note to self: better make a phone call anyway). Going over the manual, the depth of features is intimidating at first pass, but the manual looks to be concise and reasonably well-written, and the interface, at least on paper, looks like it may be intuitive enough. We'll see how much trouble I'm getting myself into.
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Post by M57 on Nov 30, 2017 11:58:58 GMT -6
Don't you have to drag it to a new track? +1 This works for me.
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Post by M57 on Nov 28, 2017 13:45:56 GMT -6
But running Logic from an Ipad is 'web control.' What am I missing that Reaper can do that is cutting edge here? How about not having to run it on apple products? That's pretty cool. Though I suppose with Logic the assumption is that you're going to have Apple peripherals anyway.
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Post by M57 on Nov 28, 2017 11:53:21 GMT -6
Not to mention that this has been out for a few years, and predates the Logic Pro X iPad app: neyrinck.com/v-control-pro/I bought it for my ipad3 way back on April 12, 2013. So, yeah. Reaper is CATCHING UP, not leading the way. I said WEB CONTROL, not app control. In your rush to condemn Reaper, you didn't really read what I said.. But running Logic from an Ipad is 'web control.' What am I missing that Reaper can do that is cutting edge here?
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Post by M57 on Nov 26, 2017 10:57:08 GMT -6
Very Cool! Thanks S. It's perfect for catching transients from individually miced parts of the kit. It doesn't pull apart things from an overhead or room mic based on frequency like Trigger is suppose to, but it's perfect for my requirements.
I'm not planning on canceling my Slate Everything Bundle subscription anytime soon and I have a few dozen aftermarket plugs (that it seems I use less and less), but I swear I can get 95% of the way there using what comes stock with Logic, which I'm pretty sure I paid $199 for a LONG time ago. Every upgrade costs me nothing and it just always feels cutting edge to me. I know the interface isn't everyone's cup of tea but it totally works for me.
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Post by M57 on Nov 26, 2017 8:59:33 GMT -6
I use Logic's drummer to write songs, and I get very reasonable results. It's been an amazing tool that has made it easy for me to get the job done, but it's never perfect style-wise, so more recently I've been hiring a real drummer who records for me remotely. The sonic quality of his tracks are very good, but eventually I still feel the need to augment with samples. I can't be there in the studio when the tracks were being recorded, otherwise I could have the him tinker with mic placement etc.. to get the sound and colors I want, but even then..
So, the way I do that is to make an individual drummer track, pick a complementarysnare (or kick, toms, etc), and individually drop it into place with the piano roll editor. I'm pretty happy with the results, and I'm not a prolific writer so I don't mind spending a few hours doing it, but I know I should probably be using some auto-triggering software to generate MIDI files that will not only save me time, but will get things dead-nuts on.
So my question is "What's are the next steps for me software-wise?" Will something like Slate's Trigger do the job described above.. and I simply continue to use Logic's samples, or should I consider something like SD3, which I believe does all of the above, gives me more samples to choose from.. and a lot more?
One thing I'm intrigued about with all of these 3rd party VI-drummers is the tap to find groove libraries. As much as I really do like working with Logic's drums, I have to admit that the descriptions that it attaches to it's "drummers" are awkward ..and finding the right groove feels like crap-shoot almost every time. Of course, If I'm always using a real drummer for the final production it may be moot, but on the other hand for quickly sketching out a piece it's nice to have more inspirational options.
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Post by M57 on Nov 25, 2017 15:08:22 GMT -6
There's no question that LUFS is the more valuable of the two from a practicality standpoint, but I plan on using both until my ears figure out what's going on. Right now my sense is that DR is more easy to discern aurally precisely because it's weighted/focused on the top 20% of "windows," which is where most of the compression has been applied, while LUFS looks at the entire range and weights things more evenly, which makes much more sense when it comes to bringing different program materials in line for broadcast. My reasoning may very well be flawed, but that's where it is right now.
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