Zynewave's Forum Page

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.

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

Hi Conquistador,

I would imagine developing a panner would not take that long and would be considerably easier than implementing surround sound in the first place.

That is probably correct, but implementing a quality surround-panner is not a trivial task either. It is not just a matter of juggling levels between the channels. To achieve spatial realism it will need to have separate delays for each channel, all depending on distance parameters etc.

Additional but separate colour options for Pan, Bounce and Solo

What are you referring to with ‘pan’ color?

A track level numerical db indicator

On the plan.

any plans at all to include a simple score editor of some sort?

That is going to take a while. Of course it would be a natural extension to Podium, so eventually I hope it will be implemented.

Also any plans for any sort of basic video features?

Yes, but my primary focus currently is music production. As long as there are basic music production features missing, I will not start to widen the feature-set, for things such as video production.

Podium has very capable surround but falls short of the other elements of post production.

I implemented the surround routing capabilities because I found it essential for the design of the Podium engine. So my intention is of course to expand on this in the future.

Thanks for your comments,
Frits

Hi Francois,

If Console or eXT are imported as insert plugins, then it must be something to do with the audio routing inside these plugins.

If when importing Console or eXT into Podium you ended up with separate mappings for inputs and outputs, then the plugin is configured as a global plugin. Thus you should assign the device input and output mappings to separate tracks. When a device input mapping is assigned to a track, Podium treats it as a send. This means that the ‘send’ dial on the track controls how much is sent to the plugin, and the ‘gain’ dial on the track controls how much of the dry signal is passed thru the track. If this is how you have set it up, then try to turn the ‘gain’ dial on the track to ‘off’.

Frits

I set up a test project to see if I went wrong anywere when I was setting up the studio. When I looked in the a,b,c,d banks in the preset menu all my presets where there in place, bank 1 had been put in A and 2 in B and so on, But in the project that Im working on there not there

The first time you probably had imported the Synth1 device definition file. This file is set up with the correct banks for all the presets. In your new project you probably have imported the Synth1 by selecting the dll file (or the import all command). This will not create as accurate a preset collection as the device definition file provides. Note that to reduce the size of the downloadable full version, the installer does not include the device definition files. You can download these separately.

Hi Stu,

There can be many explanations to the CPU spikes. You say that it is the same synth you are using between the two projects, but are you using the same presets as well? And which synth is it btw? Just the slightest change to a preset can introduce denormalization issues. Also try to increase the ASIO buffer size to see if this reduces the problem.

Frits

Hi xis23,

I downloaded the Intakt demo, and found some example rx2 files here:

http://www.loopmasters.com/Rex-Downloads.asp

I loaded the Intakt Demo VST in Podium, mapped it to a track, located the rx2 file with the Intakt browser, double-clicked, and the rex file loaded and played ok. Is this similar to how you are trying to use the rx2 files?

Frits