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Re: When will vocaloid editor be available in the US?

Yes it has an English interface as standard so it's good to go > I purchased mine straight from the Japanese Yamaha website and had no issues at all .;-)
by G-string
Tue Nov 12, 2013 9:04 am
 
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Re: How to see value of selected automation point in C7.5?

1) Was it always like this? I thought I remembered being able to see the current value of the selected automation point in the tooltip, which helped me position the points. Am I thinking of a different DAW? I can't remember ;)
2) Are there ways to A) manually specify a selected point's value or B) see what the value of the currently selected point is?
In the Info Line.
by vic_france
Wed Jan 15, 2014 12:40 am
 
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JBL LSR 308 Experience - Save Yourselves!!!

Before embarking on this little fit of peak I should acknowledge a couple of things. First I am old, so old in fact that I can tell more ‘I remember when’ stories than Pamela Anderson. Second, I am spoiled, so spoiled that I collect studio monitors for fun running the gamut from old Urei 813s to JBL 4430s and just about everything in between. What can I say? I love studio monitors. So when JBL released the M2’s I thought “… great! JBL is back in the large form-factor monitor game… I gotta get me some of these…” That is until I saw the price tag at which point I bought a bottle of Scotch instead. Fast-forward a few months and low and behold JBL had implemented the groovy wave guide tweeter assembly (derived from the M2)_in a new line of cheap home-studio speakers.

Then came the reviews… “Awesome… Great… Incredible” and a list of superlatives that would play well at an awards ceremony. Well, that was it… I called Sweetwater and they kindly shipped me a pair with their usual great (incredible actually) service and alacrity.

What can I say? Never have I received a shipment of junk so incredibly quickly and professionally.

Where to start? OK… First, one side was broken… At least in terms of the XLR jack… The phone input was fine but really? Once I got things hooked up using ¼ inch I ran some mixes and I was shocked. Not at the mixes… They are OK… But at the ridiculous, and I mean RIDICULOUS amount of bottom-end being pumped out of these things. Even after adjusting the low-end gain using the switch on the back I could not believe how much low end junk was pouring out. And not useful low end but Jack Daniels vomit-sized gobs of low end which you couldn't EQ if your life depended on it (snooty alert – I have a tuned room). Now, I know folks love bass and why not, who doesn't? But bass would just as soon kill you as date you and these things could be hired as extras on a Piranha movie. This bass response was being generated in a free field several feet from all room surfaces (I put placed them where I usually have the NS-10s). To be fair I thought I should move them around the space to see where they could be made to sound passable. I could not find any location in the room where I could stand listening to them for more than a couple of minutes.

Next, the must-vaunted waveguide tweeter and its ‘legendary’ imaging. I’ll keep this short. NS-10s image better than these do. Not just a little better but a lot.

Build quality… I know these are cheap so its not fair to compare build quality to a serious monitor. I would have been more sanguine if the one side actually worked with the XLR input but never mind. All I can say is this… These are cheap crappy assemblies using vinyl over some form of light-weight casing (to reduce shipping costs of course) and my bet is that they will be dying left right and center like t-shirt salesmen at the Battle of Gettysburg

I know I'm being a jerk about all this. Most folks have never heard great monitors in a good room so I guess to that community I apologize for being what Spiro Agnew might have called an ‘effete snob’. But sorry, once you have had a great monitor experience there is no going back and these little JBLs are like going back to Magna Carta. I give these a two out of ten.

I guess I should not be applying at Harmon for a job...
by cpechet1
Tue Feb 25, 2014 4:11 am
 
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Re: Workflow tips for converting cassettes to individual son

- Should I use the Audio File workspace or the Audio Montage workspace?
The Montage for sure.

- Which marker types (if any) would be best for isolating and naming individual songs/regions within the files?
No markers necessary, but CD markers may come in handy to enter metadata for individual songs. In the montage, you first see your audio file just like above (as one clip), then use the scissor tool to cut the separate songs. Now you have multiple clips, which are just representations of that particular part of the source wav file. By adjusting the sides of the clips, you can change the cuts after the fact. Clips can have their own processing, but also the tracks on which they reside can. You can create another stereo track and drag clips over if you want the same proces done to them by track effects.

- If my goal is to end up with a bunch of individual song files that are normalized for loudness, what's a productive workflow for getting there?
You could apply effects on individual clips, or use the meta normalizer. I'd be careful with cassette recordings though, since they possibly are quite close together already.
by Arjan P
Tue Mar 18, 2014 10:01 pm
 
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Re: Bitwig - competition is great

Are we really at the point where we think that it's is cool to discuss another dev's product that directly competes with Cubase?
by Jeff Hayat
Sun Mar 30, 2014 1:26 am
 
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Re: How to select the audio range of the selected clip?

Double click in the upper half of a clip, to set the selected time range over the whole clip.
by PG
Tue Apr 01, 2014 8:05 am
 
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Re: How to select the audio range of the selected clip?

UltimateOutsider wrote:So, my real goal is: How to place CD track markers at the exact start and end of a clip?

Create them near and slide them till they click. Remember that CD markers need to be on CD frame boundaries, though.

Paul
by pwhodges
Tue Apr 01, 2014 9:20 am
 
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Re: Cubase 7.5 and sending MIDI Program Changes

As you say, you can do this from the inspector (if you know the bank select values you need for the Stage 2).

Another way of working is to actually enter the MIDI events at the start of the track rather than using the inspector. One advantage(?) of this way of working is that you can include programme change commands within the track.

The first bar of the project is typically used to set up all the MIDI devices. So,using the MIDI List Editor, a track might start with:-

Bank Select (LSB, MSB)
Programme Change

One way to see how this works is to import a GM file (with Extract First Patch, Extract First Volume/Pan, Import Controller as Automation Tracks all disabled), select a track and open the MIDI list editor. At the start of each track you should see all the MIDI controller and program changes required to initialise the track.

(If there's a SysEx track in the file then there may not be Bank Select Messages on the tracks but, nevertheless, you should see the technique.)
by Jenks
Sun Mar 30, 2014 6:08 pm
 
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Re: Cubase 7.5 and sending MIDI Program Changes

There are 2 Bank Select messages:

Bank Select MSB (Most Significant Byte) = MIDI Controller 0
Bank Select LSB (Least Significant Byte) = MIDI Controller 32

The banks are selected by preceding the Program Change message with a Control Change message which specifies a new value for Controller 0 and Controller 32 .

You can insert both the Bank Select controller and Program Change messages from the MISI list editor.

Since the MIDI specification does not describe the manner in which a synthesizer's banks are to be mapped to Bank Select messages, there is no standard way for a Bank Select message to select a specific bank. You need to check the manual for the Stage 2 to see what Bank Select values you need to send to select banks A to D.
by Jenks
Sun Mar 30, 2014 5:33 pm
 
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