Glenn Stanton

fair enough. and good points on instrument samples being triggered due to volume or velocity. in my case, i don't typically touch the volume or use CC7 etc. and yes, changing velocity (which is my normal approach) can impact the samples selected from the VI. most times i would use a velocity change would be (in my usual work) to get a percussion instrument (like a shaker or tambourine) to use a "softer" set of samples to cut some harshness without having to eq it.

All Impedance Matters® AIM for Greatness®

go to your settings (spoked wheel) and look at the person icon and you'll see your version, and perhaps a note to update if not the latest.

agreed, i would not necessarily wan the velocity overwritten by the volume change, merely scaled (like it does on a single track where i lower the volume but leave the velocity on notes the same as before). on the multiple MIDI into a single VI, things like Kontakt use (or can use) separate channels so effectively a different instrument (per a normal MIDI behaviour), but 2 or more tracks into a single VI on a single channel - it seems like the track with the lowest volume setting wins 🙂 and the reason i set the volume off on the second track was i didn't want it sending the MIDI notes, and i didn't want to mute the clip either. but lo and behold, even when i did mute the clip, and remove the clip (while troubleshooting), it had no effect. just the track volume causing the VI to turn off it's volume. anyways as noted, all good for me now.

and -- you can load other instrument riffer presets and MIDI, however, not all instruments have the same ornamentations, or not in the same place. so some will not be available or making other sounds... esp the fx. as mettelus noted, start from scratch will reinforce your learning. for me, i also break down the songs (my stuff) into smaller chunks so they're focused on those specific performances, rather than trying to get all of them in a single riffer. later i'll drag each onto the DAW instrument track as needed and they'll play together as expected.

more importantly (for me) is how much preplanning the recording had. given the precision of the AR engineering, and setting pitches (via frequency driving the tape motors) and the band performing at multiple tunings and speeds, is pretty amazing. and to consider how many of their songs underwent this kind of process. this is a serious devotion to obtain results like noone else... pretty sure not many bands were even aware of these techniques at the time, or even had bothered to try them... and i think yeah, all this can be done in the box today. and i'd wager if the band had DAW tech back then, they'd have used it... and who know where they would have taken things. lol. maybe if we build a time machine and bring them a proper computer and Sonar, we could have flying cars today...

yeah some use the mod wheel, and on my S49, there is a touch-slider pad below the pitch and mod wheels, which is a volume control in many cases, so one of the first things i check, is did i touch the slide? lol. i'm not sure if the active MIDI track should ignore the inactive tracks or not. this would also provide the option for multiple tracks feeding MIDI to a VI to have different levels being sent, rather than overriding the other tracks levels. e.g. i have a drum track @ 101, and a percussion track using the tambourine and shakers only set @ 75. in this scenario, i'd want all the drums fed @ 101 and all the percussion @ 75 so i could start to set the blends. now it would simply set all of the tracks to 75... probably not possible as the level is sent in the MIDI so the VI is reacting to that, vs having the track volume affecting the MIDI velocity levels uniformly...

i think once you get into the enhancement side of things, you're likely to have to DIY - adding the types and fx to get the "close to live" performance. the Ample v4 instruments have significantly improved the riffer wrt features and easier use. some of it though could still be improved, like putting the type of actions above the track line vs above the image of the instrument! but it has better import of MIDI options than before. if you open the demo project zip file, you see project files for DAWs and also a MID file (which is the MIDI file) and you can import this. if a MIDI file is created by Ample riffer, it will have all the ornamentations, otherwise it will be plain vanilla...

if you check on the amplesound.net site, they have a bunch of demo projects you can load. https://www.amplesound.net/en/download.asp

first you need the ISRC code. then you need to export the WAV as a Broadcast WAV (which has header space allocated for information), and then as Wayne suggested (and i was also about to) use an editor like WaveLab or a free product like https://www.sonorissoftware.com/product/isrc-editor/ to add t he IRSC (and likely other IDv3 metadata) into the Broadcast WAV file. easy peasy. it's the way the professionals do it as well.

no option to duplicate a buss. 😞 the idea of adding this feature is a good one. one thing i do to circumvent this limit, i create buss-level Pro Channel presets which use the FX chain as well as PC FX to create all the goodies for a particular buss type as well as typical settings (like EQ, reverbs, delays, compressors depending on the buss - like drums, guitars, keys, vocals, etc). so creating a new buss is really only a couple of clicks to add the buss, and add the preset. it would also be nice to have routing etc also preserved, but for that i have my own custom templates with all of those things as well as default tracks and busses. so typically going from blank to a recording template or mix template is 30 seconds or less. recording template has enough tracks pre configured for about 40 musicians if needed. i'll delete tracks and busses later. same for the mix. then i can spend time on recording things right, or getting in to the creative part of the mix faster.

i'm thinking you want sufficient audio for their audio system - otherwise how to mix effectively? basically try things out and see. i used to do some remote recording with friends (high speed internet is essential) and with some effort to ignore the latecy effects, and then re-position tracks to align, it's possible...

it opens fine for me (minus a bunch of plugins i don't have) Reverb.it (Bus: 'SSpike') Illusion (Bus: 'Illusion') Seventh Heaven Professional (Bus: '7Th Hall') ValhallaShimmer (Bus: 'Valhalla - Shimmer') LexConcertHall (Bus: 'Lexicon-Halls') Pro-L 2 (Bus: 'Final') WLM Plus Stereo (Bus: 'Final') SonoBus (Bus: 'Final') UADx Pure Plate Reverb (Bus: 'UAD Pure Plate') Reverberate (Bus: 'Reverberate 224') Seventh Heaven Professional (Bus: '7th Sunset Plate') LEMONSTEREO (Bus: 'Lemon') LexDualDelay (Bus: 'LexDual') UADx Capitol Chambers (Bus: 'Capitol Chambers') however, saving it i get an error same as you. but if i open it in safe mode with no plugins, it allows me to save it, so i'd go through the process to see which plugin is causing the issue.

the main issue will continue to exist until we can harness the "spooky quantum connection" because latency is the real killer for remote work. so even if the video and control movements seem "fast enough", you're still likely to have at a minimum 200-250ms of latency on audio when using network communications and computers. your phone seems nearly instanteneous because the human to human communications has natural pauses etc. but when you try coupling that with screen video and intermediate computer processing, you'll definitely see and hear it.

no hair, so no problem for me... lol