Gswitz

Anyway, F*, I'm sorry you lost your gear. If I was rich, I would fix it for you.

How do they know?

Did you move on to something new you prefer?

I use an fcb 1010. Got mine used. There are tons of videos out there. This gives me stomps for 100 fx and 20 expression pedals. I keep one bank for controlling the Looper. Basically, you check the midi input on the thu vst. Then, you send a midi device to it. Last, click learn in thu, stomp your midi pedal, click ok.

Happened to me last night. 😁 The previous night i ended my practice rolling of the volume on my guitar. So, i turned the guitar back up and problem solved. I'm not meaning to be glib. Check your signal path. Where are you getting signal? Where does it stop?

It's interesting. I use a midi pedal to trigger it. If you use an array of th3s, the same pedals work all of them, allowing you to loop many tracks together.

Mic the instruments first. Not critical but a suggestion.

Touch is so much fun with synths... Especially xy boxes and like in rapture pro... Ooh so fun!

The main answer is that touch isn't much used by active users. I'm one of the folks who has a touch screen and folks do use it for various things. Many of us let them track what we use touch for. I guess it proves to be not all that much. 🙂 I have liked touch for silently making adjustments in the room with the performers. The ten finger touch thing is kinda cool where you can move more than one fader at once. Still, I don't use it often. Most of the touch stuff I do is one or two touch points at a time. To tell the truth, it has fallen from my attention. I have no desire to try to modify envelopes with touch.

He's selling preamps from Ukraine.

I record jazz with tube mics and ribbon mics. Nice pres, but not tube.

look in event viewer just in case.

Typically no. It would help if you give us more info.

I got my ucx at a local gc. Lots of odds and ends. My rack. Strings Pedal board Pedals I like the place.

Only what you have recently played through.

If you can tell visually, you have to play through the track. Cakewalk is not great for this purpose.

+1

https://www.researchgate.net/profile/Amandine_Pras/publication/257068631_Sampling_Rate_Discrimination_441_kHz_vs_882_kHz/links/00b7d52459de5acbf6000000.pdf I was looking for info for azslow on stereos reproducing content above 20k and how good of a job they do. Found this interesting.

I guess, Will. I'd have to see the implementation and give it a try to see how i like it. It's hard for me to imagine a computer generated clip gain envelope that i would feel comfortable using without veto of each decision point. Not even seeing the envelope... Idk. Hard to imagine using it.

2 knobs help get levels right. Expensive pres sometimes come with gain and trim. They do the same thing but at differing degrees of impact. One gets close. One gets it just right. No shame. Use them. Forget your color worries.

If you have the envelope present, you can swipe a range, hover high-side, then drag up or down. This will auto create 4 nodes around your selection. Then adjust slopes if you want.

Clip gain is an envelope. You are in total control of the regions to raise and lower. All the usual tricks work. You can easily raise soft words or cut breaths. It gives you nice automation control of gain before your fx on the track. I'm not talking about track gain which is a static setting on the track. Take a look. It is more handy than i knew when starting out. Glad I've discovered it now. Arguable drawback is you don't get to see the waveform change as you adjust, but by doing a bounce to clips followed by ctrl+z you can see what it does to the clip briefly prior to hitting the fx chain.

I think that's it in a nutshell, @micv.

Hey Azslow! With lasting respect for you, I took a minute with my RME UCX to do the following to show that RME exports the higher frequencies to the speakers... 1. Dragged a loop into a new project at 96k (shl_guit_80_ringshft_D_Rex(9)) -- noted audio ranging up near 20k. 2. bounced to track to get an audio file I could use the loop construction view on. 3. Used Craig's Les Paul trick from p270 from the Big Book of Sonar Tips to speed it up 7 half steps. 4. sent the stereo pair out of the interface and back in physically. 5. Recorded the raised recording and noted content up to around 40k. 6. Next, I slowed down the new recording by 7 half steps and did a null test with the original. It was pretty good to around -33dB. So this shows that through this process, most of the audio was retained. This defends that the RME UCX will send the higher frequency content to your speakers. If you were questioning whether my speakers do a good job up there... haha... not worth testing. 🙂 I have cheapie charlies... but I'm sure you can find speakers that attempt it anyway. As an interesting aside, while the first and final spectral analysis bits are almost identical, at one moment you see a tiny jump at 40 (otherwise quiet between 20k and 40k like the original). So, not perfect null test as I said. Something funny in there. No other gear or interface in the middle. Out of the RME UCX on channels 1 and 2, in on channels 5 and 6. No pres on those channels. Because that final 40 was after slowing it back down, I suspect something to do with the loop construction view slowing algorithm. Who knows what. 🙂

You can automate clip gain and then bounce to clips to materialize. If you like what you see you can ctrl z to return to the clip gain envelope in case you want to change after listening. I leverage clip gain A LOT. It is useful for gain staging into fx. And when mixes get hot on a bus, you can back down the bus gain.