jackson white

The attack/bowing technique are probably the key to some kind of "acoustic distortion" more than the instrument itself perhaps with a less refined approach to sampling, (Doug Kershaw and a fifth instead of Joshua Bell and state of the art recording techniques?) I tried several types of preamp distortion to get a more 'lofi' sound but it all sounded 'electronic' and not so usable.

That's been my approach for piezo electronics on an acoustic. IRs function pretty much as an EQ with cabinets seeming to add little more "space" to the sound but they're generally the same thing. Tried a couple of IR loaders and the Audio Assault referenced by @msmcleod contains modules for additional inline processing. It was only $7 and the Gain/Volume was useful as IRs seem to knock the output down quite a bit. Still haven't found what I'm looking for.

Great question. Theoretically, none. but perhaps IRL, it might come down to the quality of the instrument being sampled and the player's technique. There are times where you want something that sounds like it's been hanging on a barn wall for most of the week and only gets pulled down for a trip across the bayou for some Friday night hoedown. Might have to check for a "cajun" preset in iZotope's Trash.

you may have seen these, https://www.3d-varius.com/impulse-response-acoustic-instrument/ some useful notes in this example. https://www.kvraudio.com/forum/viewtopic.php?t=529591 The link includes an example, not much on -why-, but let your ears do the thinking... Going down this rathole atm. Recently moved from an absolutely gorgeous space for recordings AGs, trying to find an acceptable workaround in the new space. Had briefly looked at IRs in the distant past along with sampled AGs, never got past the initial efforts none which sounded good enough to use (could be the user...). Hoped the Nembrini might offer something more for cheap and cheerful takes, but @msmcleod reminder on IRs pretty much shot that down. IRs sound better but so far still a bit of a compromise unless buried in the mix..

What electronics are in your Taylor? They seem to have tried several configurations, starting with Fishman and now promoting a Taylor branded "Expression System".

just an opinion/observation here, but the challenge of maintaining a PC based DAW seems to require a fairly high degree of competency to manage; 1. a wide open computing platform (best bang for the buck, mostly reliable, but with a greater range of potential issues than a closed system) 2. running on an O/S with a well documented tendency to shoot the user in the foot on a regular basis with unvetted and poorly scheduled updates 3. trying to keep up with demanding realtime processing via 3rd party audio interfaces with varying degrees of driver quality 4. using a very full featured DAW with options on options for configuration and workflow (nice but... ime with the potential to generate dependencies on dependencies given a creative user base with a wide range of personal preferences. There's a school of thought that believes limiting options improves reliability/stability. The general focus on stability/improved feature set of CxB releases since Bandlab tends to support that philosophy. In addition, the workflow enhancements have enabled such a high degree of productivity I feel I'm outstripping either the hardware or the DAWs ability to keep up (speed comping is a great example). 5. loading said DAW with a host of 3rd party (= unvetted) VSTs that may or may not be compliant with a standard. (understood it's documented, but implementation seems to have some loose ends?) Cakewalk has been super wrt to sorting these out, with both highly reputable devs as well as a few newer less well known ones. FWIW, this forum has been more helpful than any other resource for sorting out issues, but still spending more time than desired on troubleshooting. Been thinking about documenting a "Dropout Diary" to distill known good remedial actions into a disciplined checklist, if for no better reason than to stay focused for the next time. ... There are times/situations when tracking to tape seems more productive. 🙂

Noted this with tempo maps. Had a client wanting to revist sides from several years ago. The old tempo maps were updated with a set of "jumps" which I ended up deleting in order to put in a slope. The projects have been stable once reworked to align with the new features. The update is a much appreciated improvement.

Confirming this, and even more pronounced when checking the magnetic over piezo. Agreed on the beyer, but the SM57 did sound familiar, have used that in the past to get a track to cut through in a mix. For the demo track I checked, the AY DSR worked better than the others, with the Martin coming in 2nd. I think the point is there is enough variation in the models to offer a wider range of options. However, none of the models sounded "realistic" on their own, much less "studio grade Pro". While this could be productive for quick demos, etc, will take a look into IRs, thx for the link. Thx, had not considered that. Tweaking the Fishman/Nembrini helped more than expected, but hardly plug and play.

Ya, one might be me. been running a remarkably stable system for years but hit a dropout speedbump around Mar of this year, went through the well known suspects but there seemed to be dependencies between a couple of moving parts that didn't cooperate as well as they have in the past. LatMon assessment seemed to think something had changed, but did not point to anything directly actionable. Decided to upgrade the OS (Win10 Pro 1909 > 2004) but that seemed to create a new set of interactions. Factors that seemed to help included reinstalling native ASIO drivers post ugrade (>1x), updating/disabling network adapters, changing USB ports!?! and changing ASIO/Recording/Playback buffer sizes from the last known good settings. Still monitoring the improved error reporting with the newer releases and what looks like potential issues when opening non DAW apps while the transport was running. Updated all VSTs to the latest release and discarded a couple that seemed a bit dodgy. Sent in a few crash dumps, but CxB does not seem to be the issue despite the lack of a specific 3rd party culprit. Running well atm, but wryly noting the veterans who complain about what a pita tape was and feeling there is a digital equivalent, waiting for the UAD product announcement.

FWIW, never had any luck/interest in MIDI/sample based playback options of which there are plenty. Only ever tried a couple but they've all struck me as a bit "keyboardy" (static? wimpy? envelope issues?) but generally too much work to get to sound anything like the real thing. Given the claim of modeling specific makes, I'm assuming this is some sort of IR based approach similar to UADs Woodworks or maybe Line 6 Helix + IRs. It's more than something like Waves Maserati ACG, CLA Unplugged, etc which are just FX chains. Tried this on an old Taylor C310 with Fishman electronics which I've never liked/used for the DI signal. GUITARS | Models Don't sound anything like the well mic'd real thing I'm familiar with. That being said, there's quite a range in tone/sound and a couple seemed to work better than others for a demo track. YMMV. MIC | Model, Position: useful, Distance: less so. An LDC option might make sense compared to the existing options, which strike me as pretty "focused". PREAMP | Blend, Treble+Presence: were the keys to get it to work in a demo mix PREAMP | Input Mode: Selecting Magnetic for the Taylor seemed to be radically different depending on the guitar model. Not sure I understand what's going on here. Tried Magnetic on a Tele/bridge pos, could see using it to color a cleaner tone, much like blending a Di signal with a clean amp. PREAMP | Comp, Grit: don't ever see using these. MODULATION | maybe useful at low depth DELAY/REVERB | not likely to get any use SUMMARY: It will never replace a well mic'd quality AG in a great room, gets a bit "cloudy/muffled" for me if you get too deep into the FX, but could be a productive option in many cases. What sets this apart is the models with extra points for a scalable UI. In tandem with the Fishman it provides an additional layer of interactive tone shaping that looks promising and might make the DI a viable option for me. I plan to dig a bit deeper. Cakewalk had/has the VX 64 Vocal/PX 64 Percussion strips. This could be the AX 64 Acoustic Guitar strip.

This could be interesting, see it as a tone option for blending with the mic tracks or as lipstick for hack demos. Didn't love the FX on the SoundCloud demos, but easy enough to leave out, wondering why they didn't include an LDC option for the mics, seeing some potenial for additional models if the base concept proves to be useful. Plan to give this a shot though as I've never found much use for any AG sims.

Not a user of IK, but find the VLA-3A in particular to be every bit as useful as the UAD version, with a bigger UI. The VLA-2A seems to have more grit than the usual suspects when you crank the input, so it gets used in select spots over others. The VLA-FET is probably a VLA-4A emu, works well enough. Stability, quality are all top notch w/o excessive DRM overhead.

So UAD is still the winner here? @Craig N, @e-cue, thx for the share.

^^This^^ would be appreciated as a productivity enhancement. The existing [VST3 | Preset Options] mostly works for the VST3s I use, but is always an extra click and *does not display the name of the loaded preset". This can get pretty annoying working with multiple channels for a larger project using the PA TMT family of console strips. Other VST3s "forget" where their presets are and display the VST3 preset list for the most recent VST3 accessed. I've had some discussion with PA but so far they've declined to indicate much interest in changing/improving usability. The suggested solution is to load/resave presets in "the Cakewalk environment". Tried this for a couple of plugins than looked at bx_rooMS which lists 200. Ya right. Other VST devs are doing a better job on this, probably more of an opportunity for CxB, but also never been an issue in S1.

?? maybe so for "classical", but always thought it's been fairly well known for jazz releases including some classics. (i.e https://jazztimes.com/features/profiles/miles-davis-and-the-making-of-bitches-brew-sorcerers-brew/3/ ) Producers/tape engineers were earning their money on those sides. ... a point for Dirk Ulrich / Plugin Alliance to consider as they run out of vintage gear to emulate. perhaps a TMT version of an orchestra?