rsinger

If you get the DD-200 and you do a second take note that you can use the boss as a DI. It's designed to take a guitar as input. Use it between the guitar and IF and bypass the effect and see if it improves the sound on the first take. This won't work with all guitar pedals. A lot of pedals are designed for instrument level signals. You don't want to put a line level signal into those. It all depends on the pedal; some will work some won't, some may blow out. Also check and see if the tube in the audient is running at full voltage or if it's starved. Starved is ok, but you may be disappointed if you think it's full voltage and it's not.

OK, that's a bit simpler. The input on the DD-200 is -10 db to + 7 db and +4 db is a common line level so you should be able to take the output of the IF directly into the delay. The output is the same -10 db to + 7 db so you can go directly into the IF. You need at least two inputs and outputs to record guitar and use outboard fx and as you say to get stereo you need two inputs and outputs for the delay. I haven't used outboard fx with CbB. There is a section in the documentation on it. Search the pdf version for external insert. It's on page 928 of version 26.11.00 .

Are you re-amping or do you want to use the DD-200 as an external effect? What you describe here and the other post is an external effect, you're not going into a HW amp r u? You write that you're using an amp sim.

Ow!

I had a $25 loyalty voucher and used that to get gig performer 4 for $75. Seems ok to me.

Absolutely. I do home recording so I can always re-record something. If you're a recording engineer I can see that it's nice to be able to tweak things after the artist has recorded.

You'll find plenty of delay pedals on pedal boards. https://static.musiciansfriend.com/thehub/binaries/content/gallery/mf/interviews/eric-johnson-pedalboard.jpg There's a memory man and Belle Epoch on Eric Johnson's pedal board. They're before the amp. Try it and see. You run into problems if you want to push the amp's input or you're driving the amp really hard. Interesting comment from EJ - The HUB: Does your setup change at all for studio recording? EJ: It’s pretty much the same. I mean, I’ll use different pedals in the studio that I normally wouldn’t use live just for overdubs or something, but typically that’s the go-to sound that I could kind of cover everything I need to and, if I need to change it from there, it could be just a matter of setting the tone different, treble or bass or whatever, or different guitars.

Looks like it's currently 15% off at Musicians Friend. https://www.musiciansfriend.com/pro-audio/spectrasonics-omnisphere-2/j20206000000000?rNtt=omnisphere&index=1

The problem is you need Roland Cloud to run them. It want's to run in the background. I turn it off in Start, but it seems to change that setting when it updates. I think you have to run RC at least once every 30 days even if it's for life. I think RC is a PIA. I do like the 808 and D-50 so I am going to think about it.

I'm watching for a discounted update to biab, I think I'm on 2019.

I like some of those leslie amps without the leslie cabinet (a 1x12 or something) for a warm clean guitar sound.

It depends on what you play and how picky you are. If you play fender rhodes they are often paired with fender twins. I usually go to either amplitube or s-gear for fender amps. If you play B-3 the leslie collection in amplitube is nice. This gb I got the leslie for t-racks for synth/organs rather than use amplitube.

Quite a bit I'd say.

I almost held out this year and then ...

That's in the manual - there is an illustration showing the different strikes. Shallow is the head toward the rim and open is in the center. https://assets.xlnaudio.com/documents/addictive-drums-manual.pdf Page 45.

MIDI out can go to HW - synths and samplers. MIDI controllers also include pedals. As a guitarist I use a midi foot controller to control loopers, Ableton Live, and so on.

I've got some of the Korg stuff and like that. Roland had a sale last year and I was tempted to get both the D-50 and 808. The Jupiter is good too, but I have a jp-8080 with all the knobs...

There are two types of guitar synths - guitar to midi and wave shaping. The old Roland GR-300 that Pat Metheny used was wave shaping. In that vein there is also the GR-500, VG-88, VG-99, GP-10, and Boss SY-300 and SY-1000. Many of the later models also have gtr-to-midi. These are polyphonic. There are some multi fx boxes that have a synth fx, but they are usually monophonic. Electro Harmonix has made some pedals in the wave shaping vein like the Micro Synth. I'm not aware of vsts that are doing this although there may be some. Guitar Rig 6 has a Harmonic Generator fx - I think it is monophonic and is modelled on the Micro Synth.

It's surprising that comes from a music tech company. They don't think people will have it on a DAW? They don't realize you don't want notifications while you're tracking? I have it installed, but I have startup and notifications disabled. I haven't purchased anything because of the implementation.

Right click the Win Start icon and select Device Manager. Expand Sound, video and game controllers an you should see Korg nanoKontrol2. If so start CbB and in Edit -> Preferences -> MIDI -> Devices you should see nanoKontrol.

I have one. I play guitar so it doesn't get a lot of use. Mine is branded Cakewalk by Roland and it works well with CbB.

It doesn't help with your problem, but I was trying to explain the design. On the HW midi controllers and HW sound modules I have the bend range is buried inside a menu and is not a parameter you change when playing a song. You set a bend range on your midi controller and you set the bend ranges on any sound modules you are controlling to match. That allows you to change your bend range. Midi pitch bend messages change when you play a song - on a keyboard the pitch wheel is there to manipulate in real time, it's not buried in a menu. Midi pitch bend messages are relative to the bend range. The value in a pitch bend message to raise a pitch a half step is different if the bend range is 2 than if the bend range is 12. If you want to bend up a fifth somewhere in your song you set the bend range to 7 at the beginning of the song and if you bend up or down a half step you put the appropriate value to achieve that and like wise for a whole step bend. For any given bend range you need to calculate what pitch bend value you need to bend to the interval you want. That is how I understand the design and that is likely what you'll find on midi controllers and sound modules. If you record someone playing a midi controller this is what you'll see. Bend ranges are already set and when you record a midi performance you'll see pitch bend messages and if there is a wide bend range you'll note the peaks of the curves will be at different values for half step, whole step, and bends of a third and so on. Given that you're free to do whatever you want and if TTS-1 is easier for your composing methods you should use that.

OK, you're drawing it in, not playing it? And of course there's higher resolution with smaller bend ranges...

Why?

I don't understand. Some midi controllers have a fixed bend range so the synth and controller have to match. Even if the controller has a programmable bend range the controller's and synth's bend ranges have to match. You wouldn't change the bend range on the fly. Once the bend range is set then the value of the bend message determines how much the pitch changes. Pitch bend messages are relative to the bend range. Keyboards often have a value of 2, guitar to midi controllers are often 12 or 24 - allowing you to slide up/down the neck. Using a midi controller you do it by ear and it's very simple. The idea of rising to the next note changes based on the bend range - what value rises to the next note depends on the bend range.