thcilnnahojOh, okay – my bad then. I imagined starting out with a blank tracklist would only add confusion. 🙂
But to make it painfully obvious, maybe the new track button could pulsate like the power button when there’re no tracks besides the master.
Regarding tags…
Seeing as the “Tracks” tag is meant to provide a view of all tracks, don’t you think new tracks should always receive this tag, along with any and all tags that are selected at the time of track creation?
Bus tracks are now nicely tagged automatically unless you go the old-fashioned way of creating them, in which case it would make no difference which tags they get, as you’ll have to change it anyway (unless you select only the busses tag).
I would even go as far as to suggest the master, busses and tracks tags should be non-removable, but maybe that’d take away a little too much freedom…
thcilnnahoj@Zynewave wrote:
The New Arrangement dialog now defaults to zero audio tracks and zero bus sends.
What’s this! A cunning plan to confuse new users? 😛
I’m just kidding… However, I do honestly fail to see the reason.
thcilnnahojthcilnnahojThe side-chaining versions of FF Timeless and Volcano are separate DLLs, and Podium creates a device definition for them, followed by the side-chain mapping. The original stereo mappings for these plug-ins are of course pretty useless.
But I guess there’s no creating side-chain mappings without importing the ‘normal’ plug-in first…
There’s also a mono side-chaining version of FF Volcano 2 (filename FabFilter Volcano 2 (Mono SC).dll). Beta 5 imports this differently to how it handles the stereo side-chain version (it still creates the two inputs and one output separately).
Besides that, all plug-ins seem to import fine for me in beta 5.
thcilnnahoj@LiquidProj3ct wrote:
My sound card (Edirol UA-4fx) only have one input, their sound card (a M-Audio, that they didn’t plugged yet a single time) they *think* it has 4 line inputs
Okay, so it seems you have one XLR input with phantom power and one Hi-Z guitar input. That’s a good start… only the drums might be a problem.
There’s also a problem with this if your equipment doesn’t have a way to monitor the inputs directly (without latency).
I think that my Edirol can monitor directly. I don’t understand the importance of this, although?
If you record the musicians separately, the gutarists or singer, for example, will have to play while listening to the playback from your computer. Even at the smallest buffer size of your audio interface, it will introduce a delay, which is often enough to throw the performance off… You probably know it if you play any software synthesizers with a MIDI keyboard or such. For audio input, there’s a way around this, called “direct monitoring”, in which you can listen directly to the signal the audio interface receives, without it being passed through to Podium and back out again (this is called software monitoring, I believe). The recording will be in time with the playback!
Quick question, all the mics I use in the Drums will capture another drums sounds too, doesn’t it? Example, if I have a mic near the snare, inevitablely, it will capture another residual sounds, as the kick.
If you use overhead mics, which is the standard way to capture cymbals, but can also be used alone, without an extra microphone on every kit piece, it will record the whole drum kit in stereo. Here’s an example: http://z.about.com/d/homerecording/1/0/P/-/-/-/overheads.jpg (just the two mics above the cymbals). If you record the kitpieces separately, there’ll of course be some “crosstalk” going on. It shouldn’t be a problem, though, as the microphones are usually placed very close to the drums.
thcilnnahojIf you (or your friends) have never recorded at all, then I fear it’s going to be tricky…
Microphones generally require a preamplifier, some even need an extra 48V, called “phantom power”, and most of them have XLR connectors. When you say you have 4 inputs, I assume they are line inputs…? If so, I’d say your best bet is to maybe get the band to rent a small mixer.
Next, you’ll have to decide whether to record them during a live performance, all at once, or one by one – with a limited amount of inputs, this may be the only choice.
However, it may not capture the performance ‘feel’ as nicely, and you may need many takes, depending on their playing skill. There’s also a problem with this if your equipment doesn’t have a way to monitor the inputs directly (without latency).
Here’re some quick, general tips on recording instruments:
Voice – Many people prefer large diaphragm mics (likely needs +48V) for vocals, though some great recordings have been made just with an SM57. How closely you position it to the singer is largely a matter of taste, and whether the recording room has a “good” sound.
Guitars (you didn’t mention if they’re acoustic or electric, so this is for electric only): If the band uses amp modelers (such as POD), or amplifiers with a line output, recording them this way may be easier than using microphones. Otherwise place one microphone (best use a dynamic one, like an SM57, but pretty much anything will do) directly in front of the amplifier. Depending on how the sound should be, place it either to directly face the speaker (on-axis), to face one of the corners, or very close to the speaker but rotated 90° away from it (off-axis). If they play with distortion, try to turn it down a little, especially if you’ll be layering guitar tracks (as used on most recordings).
Drums – In my opinion, the best way to capture the sound of a drumkit is using a (matched) pair of microphones as overheads. If you have additional microphones, use them on the snare and bass drum. This very much depends on the style of music style, though. A metal recording probably won’t work as well without mics on snare & bass, but more jazzy stuff does.
I honestly have no idea how to record a trumpet! 🙂 Anyway, I hope this helps a little.
thcilnnahoj@Zynewave wrote:
@michi_mak wrote:
this window looks very promising – maybe it lacks an entry for adjusting velocities?
I considered a single big dialog with controls for adjusting all note event properties, like velocity and transpostion. There would then be similar dialogs for sound events and automation point events, with controls for adjusting fade curve etc. I felt the dialogs became too big, so I decided to split out all timing related adjustments into this dialog. In a later release I’ll add the adjust dialogs for the other event properties, including velocity.
Have you considered still putting all (future) event properties in one dialog, but one using tabs?
It might just be a little quicker and more comfortable if you want to adjust note quantize values, velocities, and maybe other things in one go, compared to closing and opening multiple dialogs.
thcilnnahojthcilnnahojthcilnnahojThough I must admit I have little use for it personally (I could do with input quantization, but that’s most likely a completely different matter :P), it’s great to see this “oldie” finally join the party!
I agree that this type of editing should be non-destructive unless the user wishes it. What would also be nice is a simple preview of where the notes will fall on the grid when applying swing, either in that dialog (as seen in Cubase, I think) or directly in the note editor.
Ah, the preview checkbox probably already does exactly that…
thcilnnahojLate-night bug report:
1. Resize any event
2. Scroll horizontally so the event is out of view, but would have been in view if it hadn’t been resized
3. Undo (and redo if you like)
The arrangement view doesn’t update to show the event’s true size until you, e.g., scroll or select something. The navigator, however, correctly updates!
Another one! For some reason, moving an editor profile to the right of the “Big Transport” profile results in it being moved to the very bottom of the profile list (Setup menu -> Editor Profiles). This means they become mixed up, and are placed after the “Event List” profile, so the number keys 1-9 do not select the right profile anymore.
Example: With the default editor profiles, just move the Mixer profile to the right one time and press 4.
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