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mettelus

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Everything posted by mettelus

  1. I downloaded the demo, but not used it much yet. Does the upgrade apply for the 8 versions as well? I couldn't find info on the "upgrade" aspect. Looks like some features got inspiration from other DAWs, but no harm in that. One thing that really stands out is the quality of their web page and videos. Their marketing folks are really on the ball with that stuff. Very nicely done on both fronts.
  2. That is one of the weirder things I have seen. The "Building Transient List" flashes so quickly I had to download the gif and go through the frames to make sure that was what it said. Are any files (these "transient lists") being saved when it is doing that? That may be easier to search for files "modified today" after it finishes whatever it is doing. Overall that is very confusing, since there is no need for a transient list to play anything, and if it was making such a thing I would expect it to be real-time (or just prior to playing). I am also curious if that is really CbB or a plugin. Either way, I am not getting "the point" of what it says it is doing. Edit: I just tried that out and those flashing messages do appear when cycling through wav files with the browser prior to playing some (about 50%) of the files I previewed, but CbB otherwise closed cleanly for me (no residual work going on). No files saved that I could find with this.
  3. That video is a great overview of how the internal caching functions, both in theory, and under (extreme) testing. His point about "intended use" is also very valid in that the average user isn't going to be stress-testing writes to the drive, which allows the drive to clean up its caching between uses. For this, you will not see significant performance issues for reading if the cells have only been written to once (when you are done copying them). But as shown in the video, if you try to write ALL libraries to the drive at once (his test was a 230GB file copy), you will see the write hit when the cache gets saturated. Basically, the drive is setting aside a portion of itself to use SLC (1/4 density) as a "fast cache" to give the slower QLC writes time to catch up. If it gets filled quicker than the QLC writes, you will start seeing QLC speeds until the drive has enough idle time to "re-orient itself." Initially the drive is 250GB as "SLC," but as you fill it that cache will drop proportionally to 1/4 of the free disk space. Once written, it shouldn't be anything noticeable to you for reading samples from it, which is your intended use.
  4. Best advice is to download the demo and kick the tires for yourself. Regardless of input here, this will come down to you. The "What's New" at the bottom of the product page is a good place to start. Personally, I was a bit underwhelmed by TH-U, so will hold off on it. It seems the "Rig-To-Model" technology is not something they plan to release, which is unfortunate since a lot of folks have amps they cannot continuously (or ever for some) run at wide open throttle and/or want to capture their studio space.
  5. A lot of things will linger on an OS drive (temp files, log files, dump files, Windows updates (which can be rather massive), etc.), or be installed to odd places (e.g., XLN installs to ProgramData) unless user intervention occurs. A few great utilities exist to monitor folder sizes (I personally use TreeSize Free - Administrator), which are excellent tools to see what is eating up your OS drive. There is a thread on the old forum called "Optimizing an SSD" that has a bit more detail for this. I did a high-level look at junction creation in post #8 on that thread which hopefully can still help folks curious how to keep the OS drive lean. Again, the only concern that I have with large OS drives is the time they take to image/restore, and the size of that image.
  6. I think that is the crux of the OP... a 1TB drive should be used, especially if fast, otherwise is extreme overkill (and waste of money) to leave it mostly empty. In that situation a 200GB "C" drive partitioned to an 800GB "Sample Drive" would make a lot of sense. Imaging the C partition would be small and quick, and the rest of the drive could be used for "fast read" material.
  7. That board is similar to mine. You have two M.2 slots on the motherboard and the M.2_1 socket (page 1-2 just below the CPU) can be set to X4 mode in UEFI (BIOS) at the expense of losing SATA 5/6 connections (M.2_1 Configuration on page 50) . You want the faster NVMe in that slot if using x4, but will lose SATA 5/6 in doing so (essentially two drive slots).
  8. Unlike SATA connectors, M.2 slots are far more limited in most machines. This is one situation where a partition argument would make sense. You want the most bang capacity-wise from those limited M.2 connections (fast and big), but at the same time keep the OS size "reasonable."
  9. A massive OS drive makes disk imaging problematic, both in time and space. That is one situation where I would consider using a partition. My OS drive is only 256GB, and I use junctions to keep it under 150. Images of a mostly full 1TB drive would take an hour or so, and need another massive drive to store the images to.
  10. Even (especially) if you have the paid version, get this release. When I got this machine last year, I had issues getting my serial to take for authorization (customer support was still alive then, so got it resolved). I am assuming that this download going away also means that the registration servers will go offline. This free version is unlocked and may be the only way to re-install RiffStation in the future.
  11. My first reaction is "ouch," "lackluster," or possibly Kevin Klein's "Disappointed!" (from A Fish Called Wanda). Jim posted in another thread that the Rig Player doesn't allow recording "for the time being," so I ratcheted down my expectations before popping off the demo. It took another hit when the text insert in the TH-U manual for the Rig Player states "Overloud does these rig modelling in house using top quality tools and procedures, to allow users to play with the best guitar tones possible." "In house" makes me assume Rig Modeling will not be "in studio" any time soon (defeating the purpose of ambient modeling as well). The Amp Tweak is also not available on Rig Models as far as I can tell, which drove another nail in the coffin for me (even if I could model my tube amp, I cannot alter it). With all of the hype behind the Rig Player, it would have been nicer to be upfront to what it actually is... which appears to be a method to market other people's rigs, not capture your own. This left me with putzing around what I could find new and the new shimmer effect (nothing earth-shattering for me). The search feature would have been nice back in the TH2 days, but at this point I have already sorted things manually, so that is OBE for me. I will hold off till I get a better feel for what is actually new (I missed some things), and what is intended going forward. Just wanted to give folks this heads up, since Rig Player got touted pretty heavily in the past month. In reality, this fell far short of what got marketed.
  12. Limiter No6 is a very nice and powerful freebie. The on/off switches for the modules are in the bottom/left of each section. Best way to use that would be one of two ways: Peak Limiter Module only: Gain: 0, Threshold: -1, Mode:Brickwall, Type: I, II, or III, Peak Limiter:Linked, and Speed:Normal Protector Module only: Output:0, Ceiling: slightly less than 0, Protection: ISP Fast You actually have to get the manual via the "downloads page" link, the other is broken. Direct link to the manual is here. Your comment about only "the master buss" now makes me wonder if this is a rogue VST (feedback) or if the tracks are too hot (digital clipping). Let me explain... positive feedback (if unchecked) will grow exponentially and will definitely clip the track the VST is on. When summing audio, two identical signals will double volume (+3 dB), 4 will be +6 dB, 8 will be +9 dB, etc. Every "doubling" adds +3 dB. A quick check on this is to lower the master buss fader by 6 dB or so and play the project through and see where it peaks... if your project is getting digital clipping, it should 1) occur in the same places each time, and 2) "go away," which you mentioned in the OP. Is it possible you are actually seeing digital clipping (which can also sound rather bad, but is not feedback)? Edit: Quick clarification on the above... although digitally it is possible to prevent digital clipping, some VSTs definitely do not take well to being run too hot. I would do a quick check on this to see if it is always occuring in the same location during playback. While you may not be digitally clipping a track, you could be clipping a VST on that track which doesn't tolerate high input.
  13. Thanks for that Larry. I was confused with the initial upgrade offer, since on the Overloud site itself it is listed as 59 Euros versus 49 Euros (I checked ZincT's post twice to make sure I didn't misread it). It is still day one, so that will probably play out shortly, and others are lower. Regardless, can nab the demo now to check it out. Ironically, when I watched the video when this thread first posted, what immediately stuck out for me was the search box in the lower left corner of the GUI (finally!). I am very curious to try out the new Rig Player and Amp Tweak features (swapping tubes is a royal PITA and not cheap).
  14. No transport looping for this. The 2-bar section mentioned in the OP can be dragged from the track into the Matrix View and set to loop, synced to the transport. That "track" will then be driven by the Matrix View, while the rest of the project will still be driven by the transport. The Matrix View is a looper that outputs to a project track.
  15. I am not familiar with Boost 11, but as mentioned above, a compressor can be used for the same functionality (technically, some define a "limiter" as a compressor with greater than a 10:1 compression ratio). A high threshold (-1 to 0 so you do not see it functioning as a compressor (no active gain reduction)) and steep ratio (10:1 or better) should suffice. When tracks digitally clip, small red boxes will appear at the top of the VU meter for that track (and on busses as well); very similar to the red boxes in this picture at the top of the right track/buss. They need to be reset manually after a clipping/feedback event (and will be reset by default when a project opens). Do you see which track the clipping is occuring on? If you have a VST on a buss, the tracks feeding it may in fact not be clipping, but the buss itself can be, so check both tracks and busses (may be easiest in the Console View - ALT-2). Shift-D is the keyboard shortcut to maximize the multidock so you can easily see the full view... D toggles the multidock viewable/non-viewable. This should help you narrow it down to which VSTs are in play causing it.
  16. I would recommend trying the Matrix View. Unlike a groove clip, you do not need to specify length of it (where the last groove clip will be the end), but merely start/stop it and it will continue to loop cells indefinitely for you. You can leave it looping till the cows come home, and for this reason is also a good tool for jamming with. Here is an older tutorial video for the Matrix View that is still relevant (a few controls have changed).
  17. Safety point first... throw a limiter on your master buss with a high threshold and the highest ratio it has (brickwall if you have one). This is not to process audio musically (i.e., it should not be processing your music), but to catch audio spikes/feedback and protect your hearing and equipment. It could be a VST, and if the feedback is long enough to try this, hit "E" (Global FX bypass) and see if that kills the feedback immediately. I am curious how it is resolving itself though; possibly a response from CbB telling it that it is out of bounds (*if* it is a VST).
  18. Larry covered pretty much everything already. I have a 1st gen Saffire, which also uses MixControl and a couple other thoughts came to mind. First, a couple more references. Since I tend to misplace hard-copy manuals, the pdf for the 6i6 is here. The video I usually give to folks is from Graham at TheRecordingRevolution.com and is here (a little shorter, and mix focused). In MixControl, a couple additional things: Inst vs. Line (pre-amp inputs 1&2), Hi Gain vs. Lo Gain (Line inputs 3&4) - Using Inputs 3&4 on the back of the Scarlett (used for Line inputs), be sure to set the input levels appropriately in the MixControl Router section. For the cassette deck, you will probably want these set to "Hi Gain" which is the default. I am not familiar with the SC-8850, and that may be "Lo Gain." If using the pre-amps (Inputs 1&2 on the front), be sure to set the Router inputs to "Line" if using either of these, and "Inst" for the mic. As Larry mentioned, be sure all gains are set to zero on all equipment before making/breaking connections or powering on equipment. In MixControl, you can also stereo link the even/odd inputs (the interleave/infinity symbol below the faders in MixControl). When working with Inputs 3/4 from a unit, this will give a stereo output. They are hard-panned left and right by default respectively. On some older cassettes, the right track can be lower volume, so leaving them split and recording them as mono channels into CbB, leveling them, then bouncing to a stereo track may be better. You may also find it easier to record the cassette into CbB first (as a separate step to recording instruments/vocals), then using the faders inside CbB to control playback levels via the "DAW output" sent to the Scarlett. On my unit, actually opening MixControl makes routing into a DAW smoother (even if MixControl is not "actively" used). I typically power on my unit, open MixControl, verify it "locks" on the MixControl GUI, then open a DAW. Again, I have not used the Scarlett, but the Input settings (#1 above) are in the Router section of my MixControl at the bottom.
  19. Technically I am also first gen (my Saffire had no second gen), and never had an issue with MixControl routing. Granted, it does take a bit of a walkthrough to first learn (some videos are good on this), but most routings are static (DAW, inputs, outputs, etc.). To that end, my advice would be to take advantage of the "Save as" function. You can save only one routing setup into the hardware itself, but can save any number to the connected PC. 95% of the time I use *my* default routing, but for multiple outs, loopback, etc. I have those stored on the PC, so switching is a simple matter of loading the one desired. Also... those Mix tabs at the top are for up to 16 routing setups, which may be sufficient unto itself.
  20. This statement summarizes the crux of many issues. "Unfinished features" comprise a much bigger list, and historically the old forum (especially under Gibson) became inundated with work arounds (e.g., "You can achieve that via this convoluted method, so it is already there!") rather than acknowledgement (e.g., "Oh, good point, we can definitely do that better!") and following through on it. This constantly came across as "I have given you a work around, so will forget you ever said anything." That mindset and its implied statement do not coincide with sales, usage, or promotion of a product; and Gibson epitomized this. The former "Feature Request" forum was filled with a plethora of good and detailed ideas, but was locked, and subsequently slid out of public view. I used to review them off and on and think of "what could have been." It amounted to a lot of heart-felt time and effort by users wasted. The "200+ hours" from the article in the OP strikes home for me as well. Granted, he tried to delve into everything he could, but new users are often beset with a similar time investment. Practical guides for new users is important, especially where common tasks are readily exposed with underlying functionality polished. [Side comment, potentially related] One thing I find concerning is that this new forum seems to be populated predominantly with members from the old. I *assume* this is open to everyone (perhaps in error), so find it odd that more new members are not present.
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