I plan to implement some sort of ‘archiving’ functionality, as a panel in the project wizard. This would include a command to put all project related files into a zip, and a similar command to unzip an archived project.
The .mini files are cached ‘miniature’ graphic representations of the wave files. Podium uses them to display the waveforms on the tracks, without having to load the entire wave file. You cannot use them to restore your project. Sorry about that.
Anyone know if it’s currently possible to select multiple curve-parameter events and move them simultaneously?
Currently it’s not possible to drag multiple curve events. It’s high on my list. The curve editor should behave more like the keyboard and drum editors, where you can drag a multiple event selection, and use ctrl+arrow left/right keys to move all selected events in time.
Duncan is probably referring to dragging curve sequence events in the arrrangement editor.
As an alternative, you can use cut/paste to move a selection of curve events (by moving play cursor to new paste location).
Hi,
I have downloaded VSampler, and will try it out soon. Currently I’m deeply immersed in implementing embedded sequence editing within the arrangement editor, so it may be a week before I can find time to test it thoroughly.
Frits
@xis23 wrote:
How about dithering, where the colour is speckled with alternate black pixels, or striped or whatever?
I have used dithered graphics in the past, but it is not working well in my opinion.
Also is there any chance of making the default black colour for the lines inside a bar of midi a different colour, perhaps one that automatically contrasts with whatever colour the bar itself is?
The color used to draw the contents of sequence events are the text color defined in the color scheme. I tried blending it half/half with the background color, and it appears a little less obtrusive. Will be available in release 1.33.
Hi Stu,
This behaviour is to be expected. If you are running at a samplerate of 96000, all the plugins need to process 96000 samples instead of 44100 samples per second. Thus the plugins requires more than double the CPU power to be able to process all samples per second.
Frits
Your suggestion above will give me the 24 bit file I want but not without truncating it first. Which we have already discussed earlier in this thread.
There is no way you can put a 32 or 64 bit floating point audio signal into a 24 bit file without truncation. What we discussed earlier was the lack of a dithering option in Podium. But even applying dithering while converting/truncating floating point to 24 bit fixed point still introduces a quality degradation.
Maybe we are talking about different uses here. I consider the Podium bouncing system more like the ‘freeze’ features other hosts have. I believe I’ve read that freeze files in e.g. Tracktion are stored in floating point files. The ‘bounced file resolution’ option you refer to for other hosts, is perhaps more intended for exporting audio files for use in other applications. This is also why I suggested that it is only the master output bounce sound that you should set to a lower bit-resolution, because this is normally the only file you need to do further processing on with other mastering tools, mp3-conversion, etc. All other bounce tracks in an arrangement are primarily used for freeing up plugin resources. If you convert these bounce sounds to a lower resolution, then your bounced recordings will not have the same detail as the non-bounced audio.
The only advantage of using e.g. 24 bit fixed point bounce files will be the reduced file sizes. There are major drawbacks though. It is less CPU efficent because the floating point signal has to be converted and clipped to fixed point. Having overloaded signals in the mixing engine is not a problem, because you can lower the gain of the signal further up the hierarchy. But if you put a fixed point bounce into this signal path, then any overloaded signal will be clipped, causing further degradation.
When I said it is not possible to bounce a 24 bit I was right. You said it can be done by going into the sound properties for the file and making changes there. But that is *post* bounce and will truncate the file. See what I mean? That is, *after* the bounce has been done, so in Podium it still is not possible to bounce a file to 24bits without having to change the bounced file, which will either be 64bits or 32bits to start with, based on the mixer engine options that currently exist in Podium.
It is irrelevant if it is done post or pre bouncing. You can choose to create the blank bounce sound, change the properties of the sound, and then do the bounce recording. That would be *pre* bouncing, but it is still the same truncation process that occurs.
It can indeed be done, if truncating the file afterwards is not an issue, but after carefully creating a file in the first place it is seems strange to truncate it at any stage of the music process.
Yes, but your original question was how to create a 24 bit bounce file. I thought that was why we are discussing this.
It appears the development of the Podium Sequencer involved a process that somehow (read you know better than me here ) tied the mixing engine setting to the bounce resolution.
Not at all. In fact you can create bounce sounds of any bit resolution from 8 to 32 bit fixed point, or 32/64 bit floating point. That is more than what other hosts offer. The only thing Podium does not have, is an option in the preferences that allows you to set the default bit resolution of bounce files. I am hesitant to implement that option because as this discussion hopefully has revealed, choosing anything else than the mixing engine resolution will introduce quality loss. By forcing you to modify the bounce sound properties manually I ensure that you are aware that you’re throwing bits away 😉
The bouncing process is just more visible in Podium, compared to other hosts that stores hidden freeze files. This is perhaps what is confusing you.
I want to avoid the large 32bit files *and* the truncation process.
Those two wishes are unfortunately mutually exclusive, and that applies to all hosts.
Just tried it with my Intakt demo. Of course the demo does not allow creating presets, so I cannot test this on my setup. Have you had any success recalling presets for multiple Intakt instances in other hosts?
Maybe it’s because Intakt is storing some information in bank (fxb) presets that is not present in program (fxp) presets. Try creating bank library presets instead. Use the ‘new bank library preset’ track context menu.
If you are using Intakt as an insert plugin, then try to create a library preset on each Intakt track. Press the ‘New’ button in the preset panel.
I think we’re misunderstanding each other here.
a. It is not possible to bounce a 24bit file anyway at the moment in Podium even if I tried to do so without the 64 bit option anyway.
It is possible. All you have to do is go into the sound properties for the sound on the bounce track, and set it to the resolution you want. Anything from 8 to 32 bit fixed point, or 32/64 bit floats. And this applies nomatter if you are using 32 or 64 bit mixing engine. Podium will by default create sounds on bounce tracks with the mixer engine resolution, because anything else will cause a quality degradation in the bounced file.
Are you saying here that the truncating process does not affect the master output?
Yes. Not during the bounce recording. When you switch to bounce playback, you will hear the truncated sound file.
If I should try to explain it on other words; When Podium records on bounce tracks, the output of the mixer engine is extracted to the sound file. If this sound file is using a lower bit resolution, then you loose bit resolution in the sound file, but it does not affect the audio streaming. Of course if you then switch the bounce recording on, to free up the plugin resources recorded to the bounce file, then the lower-resolution bounce file will be playing. This is why bounce tracks by default are set to the mixer engine resolution. I do not want to introduce quality loss in the bounce recording system.
I think we may have our wires crossed a lit
Yeah, I think so too 😉
By “setting the master sound” do you mean changing the properties of a bounced file on the master out?
Yes.
I assume CD factory means a mastering house or CD copying facility.As for changing the resolution back to 64 bit why would this be of any benefit? Also why would I then want to redo the bounce?
The CD factory remark was just a silly example. I suggested changing it back to 64-bit, because I got the impression that you were unhappy with any truncation of the 64-bit output.
Since you’re suggesting 24-bit bounce files, I gather you are concerned with the large 32/64-bit bounce files that you will get on each bounce track. If you are going to bounce into 24-bit files on individual plugin bounce tracks, there is not much point in using 64-bit mixing engine in the first place. This is not a problem on the master track though, as the mixing engine output is sent to the monitoring output before being recorded (and thus truncated to e.g. 24 bit) into the master bounce sound.
Can each of these have their own option please?
I’ll put that on the plan. I’m not so sure about the faded colors though. They are calculated as a blend between the defined color and the background color of the current color scheme. If you were to define the faded color state, it will not be possible to make them appear ‘faded’ with different color schemes.
There is a ‘Surround’ example project with the Podium installer. This uses a couple of plugins (such as a surround panner) that Acousmodules has created specifically for Podium. Links should be in the project stickie note.
Frits
Your project is always mixed in the resolution you define for the engine in the preferences. Created bounce track sounds are by default set to this resolution to ensure exact reproduction. You are free to change any of the bounce tracks sounds to any resolution you desire. Typically you would do this only for the master track. Setting the master sound to 24 bit will still do all the mixing in 64 bit, but the bounce recording to the master track is stored in the 24 bit file, and thus is truncated of course. After you have sent your 24 bit file to the CD-factory (perhaps), you can always change the resolution of the master sound back to 64 bit float, and redo the bounce recording.
Do I misunderstand what you are trying to do?
Edit: And yes, Podium does not have dithering yet, so the 64 bit engine output is truncated to the 24 bit resolution file.