Posts by Monkey_Man

  • Pete Thorn did a demo of the Helix, I must say I'm impressed now.

    OK, due to slow DL bandwidth, I finally got to watch it (Mac speaker only).


    Love the sound of the Suhr. That mid-range warmth provides such a welcome relief from the "hollow-sounding" tones I've now come to expect from the Helix.


    Lack of warmth overall, whether it's tube warmth, analogue warmth or what have you.


    That's all I've got to say, much to everyone's relief I'm Suhr... :D


    PS: Why did I get a completely different set of emoticons to choose from, as well as a much more comprehensive tool set when I wrote the post? I then had to go back and remove all the formatting BS along with the original emoticon in order to get it to look right; the original set of tools and emoticons I'm used to had returned.


    From memory it was different from the "More Options" set.

  • Studio One 3 - Demo of Pro

    Interesting that you like that feature, db.


    DP has Chunks: A chunk can be a virtual VI rack (acts like outboard MIDI gear), a phrase, a verse / chorus or whatever, or an entire song.


    These chunks can be combined on an intuitive track-style timeline any way you like; you can even overlap or completely overlay them. Incredibly (to me), all the tails (crossover decays you mentioned) are rendered perfectly.


    So folks such as myself use it in a linear fashion, whereas others may take things a step further and employ chunks for experimentation or whatever.


    BTW, you can save "mixes" (entire processing state of the mixing board) from a drop-down on the board.


    MIDI editing and event-and-timing-related search features are both unsurpassed, which is what you'd expect from a product that's been refined since the early '80s.. and I could go on, but I'm trying to contribute alternatives based on what you're saying.


    Thank you for sharing, BTW; I for one enjoy hearing about what the "competition" is up to.


    Quote from db9091

    I was checking out this poll of 2016 DAW's and DP's not there. So it's not the "best".
    http://recording-studio-software-review.toptenreviews.com


    Just kidding, gotta love online polls.


    Agreed. Most does not mean best, just as majority doesn't mean correct.


    The only relevant poll, AFAIC, would be one where the users of each DAW were asked about their satisfaction-with-the-product levels.


    DP's not there for the same reason it's often not listed on compatibility charts or even entered into competitions - money. Its user base is generally a very serious, professional one; Tooty Fruits it is not, so in terms of pure numbers said base has never been significant.


    That said, the fact that the product's over 30 years old, fully-backwards-compatible and has introduced many an innovation (such as sample-accurate sync, simultaneous MIDI and audio handling and many other features we take for granted these days), should speak volumes and instil no end of confidence.


    Oh, and there's only ever been one (paid) product - Performer v1 -> 6 and then, because audio was added way back when the only other option was Digidesign DSP (4 tracks), the name was changed to Digital Performer which is now at v9. In effect that's v15 to we lay folks.


    One more thing, MOTU's audio and MIDI hardware has obviously reflected and supported DP's innovations along the way, with less-than-1ms-accurate MTS (MIDI Time Stamping) springing to mind as well as the ground-breaking 2408 audio interface with its format conversion between ADAT, TDIF, analogue and S/PDIF. Then there was the PCI-324/424 line which allowed at least 96 channels of I/O with latency-free monitoring at unheard-of prices. Even today its AVB system is kicking major goals with the most configurable and best-bang-for-the-buck conversion quality on the market.

    Obviously I could wax lyrical 'til the cows come home, db, so I'll draw the line here this time.

  • Pre-purchase Kemper questions

    Quote from Jose7822

    All of the above assumes that you're only recording through the Kemper, which is fine at 44.1KHz.


    Exactly Jose; that was my point, although I included any dry less-than-20kHz-bandwidth source in the argument (e.g. dead-booth vocals). I should have added outboard drum machines and synths to the list too, which I'll do now.


    Quote from Jose7822

    But what if you want to add in some acoustic drums, or vocals? Some horns? Or a String Quartet? Etc.


    I covered that first up. I suggested that any acoustic source that included a room-sound component or that sported ultra-high harmonics would benefit from the use of higher SRs.


    Quote from Jose7822

    I want to be able to record EVERYTHING at 96KHz and mix at the same Sample Rate. It would be a completely different story if mixing Sample Rates wasn't a problem. But it is! Maybe one day we'll be able to do that. Until then, I'm recording the Kemper through its analog outputs.


    I use Digital Performer, and I'm pretty sure I can use source material of any sample rate I like; I can only guess that all tracks are up or down-sampled internally by the mixing engine. I'd have thought all DAWs could do this, but I can't speak for them.


    I've a feeling I must be misunderstanding you, mate.


    Quote from Jose7822


    I believe it's more beneficial in more cases than you think. Even if you're working all In The Box, a higher Sample Rate gives your plugins more sample points to work with, which gives you better sound quality (i.e. Soft Synths). Sure, there are a lot of plugins that offer the option to up sample internally, but why not just do that from the source? Computing power is there and HDD space is cheap. And, like I mentioned earlier, if you record a lot of acoustic instruments on top of your electric guitars, then the higher sample rate comes in handy too. Not to mention its future prove.


    Agreed, but as I said, I see no advantage where dry sources such as synths, guitar and bass processors, drum machines and even vocals in dead booths such as the one I'll be building soon are concerned, Michael.


    Although I've mentioned "acoustic sources captured in good rooms with good-quality outboard" as being prime justifications (IMHO) for higher A/D conversion rates, I think it's fair to say that some dry sources can indeed benefit too. I can only guess what they might be, but in a pinch I'd say that instruments rich in odd-order harmonics (mainly percussive ones) and plucked and bowed stringed ones would be first on my list.


    Thankfully in my case no dry sources will be super-high bandwidth ones, with the dead-booth mono vocals' being the only truly acoustic one. In case anyone wondered, the reason I should be able to "get away" with just that one mono, dry source is... ahem... the Line6 acoustic, sitar, dobro, resonator, 12-string-and-what-have-you modelling. I can only hope that the use of HQ 'verb will carry off the illusion in the mix that said instruments are "real enough". They'll only be used intermittently, often as fairy dust anyway.


    To sum up:


    IMHO, for dry, less-than-20kHz-bandwidth sources, 44.1kHz at the A/D-convertor stage is absolutely fine.

  • Pete Thorn did a demo of the Helix, I must say I'm impressed now.

    Probably 'cause all but the newest of newbies have certainly seen it, and have likely played the song portion over several times, Netheravon, but thank you for linking it mate.


    Quote from Sharry

    I replied in the probability form (conjunctiv) to a probably not seriously proposal of a Kemper employees connected with an emoticon.


    Hey Harry, this is by far your most entertaining and cryptic post yet, brother! Very funny.


    I know you won't take this the wrong way; I very much enjoy reading your posts and am so glad you contribute even though English is tricky for you. Good for you, mate.

  • Egnater Mod 50 , Morgan RCA35

    Quote from Llewzaher

    Monkey Man .. Actually I changed the bridge pickup .. the gtr itself is still on the bright side .. So the profiles might be a tad dark .. The original pickup has a lot of voltage output on it ..17.5 I believe .. I changed it for a lower voltage .8.9.


    Buddy would be playing his amp , and I would plug in and blow everyone's ear drums .. always needed to turn down heh.


    Waraba- yes I will upload them .. was kind of looking for feedback , ( I should have mentioned that heh ) I didn't want to upload if they were no good .. Or if I needed to redo them with better settings etc.


    Yup, that sounds about right.


    You'd have to dial the Kemper's input down a little too or every profile would have more gain than it was "meant" to.