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omics

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Posts posted by omics


  1. I thought I share some of the things I love Samplitude for - gig recordings. I do a lot of that and quite a variety of music as well and love Sam for it. These are some of the things I've done with it using object editing and so far no program can beat it for that. Load the entire gig and edit & mix song by song using objects (and mixer). And since several on a night often share the drums and bass setup you always have a quick starting point in order to tweak sounds. All mixed and mastered in Samplitude.

    Bast with some heavy chill sounds:

    Jo Quail playing Nine Inch Nails on four cellos:

    Alexander Hacke (Einstürzende Neubauten) & Danielle De Picciotto mixing acoustic and electronic sounds:

    Moses Boyd Exodus with some tuba jazz action:

    Patchwork Natives with groovy, funky, jazzy rock sounds:

    And Invocation with Through The Smoke:




    I tried mixing a gig in Protools once...never again (unless I have to). Samplitude is perfect for that.

    Cheers,
    Peter

  2. I love the Hofa IQ EQ, most of the UAD stuff (especially the re-issues, Plates, SSL and Lexicon) as well as the PSP Vintage Warmer. Most of these find their way in almost every mix. There's also a few Waves plugins I use regularly such as H-Delay, Doubler, RBass, CLA and API. MAGIX definitely am-munition a lot, am-pulse sometimes.

    I wish Metric Halo Channelstrip was available for PC...great clean sounding plugin


  3. Hi Matt,

    I just had a look and it seems like a very interesting concept to me. Can you tell from your personal experience what it has done for you since you've started using it? Did it speed up workflow? How's the quality of the SSL compared to other emulations? And since it doesn't have a fader, any idea whether I could still have my Faderport running at the same time?

    Cheers,

    Peter


  4. I use sonimus and like it, haven't updated to the latest version. Lately I haven't used the individual ones on the channel anymore as it takes a bit of time to do it when you have lots of audio tracks. But the bus one is on the master of almost any mix. It helps me to get the levels right plus I love how a few 'switches' can alter the sound...subtle but in different directions. And for that price you can't go wrong either.

    Cheers

    Peter


  5. I don't like repeating that here then but I've done the same test as part of my final uni project, including Protools on PC, Pt HD on Mac, Samplitude, Logic, Cubase...apart from dither they all nulled in phase tests. That was a multitrack mix with over 20 channels. No plugins though. With plugins the story changes. The rest is matching settings.

    Cheers,

    Peter


  6. Can't speak for Sonar but Protools and why that often doesn't sound as good imho (until v10, haven't tried v11). When you load more and more plugins the latency compensation gets less and less accurate. I've had the strangest situations where you draw automation over e.g. a word into a delay and it echos the word after because the compensated latency was up that much. So often parallel processing starts phasing in PT despite the compensation on...guess that's a good reason why I often get clearer mixes in Samplitude.


  7. I can only speak for myself but some years ago, when prices dropped on Waves plugins I bought quite a few bundles + extras. When they were so expensive, I just couldn't justify buying them as I had others which eventually got the job done too (or even better such as UAD). And I think a lot of people did the same judging by the comments on forums and social media posts. Also, I know a few people who mostly used cracks (bedroom producers) who suddenly bought them too. I believe lower prices can help to sell more and reduce piracy a bit but have no proof, only what I observed.

    Also, since the latest UAD plugins have gone up in price I really have to think hard which ones I bought last, not updates of previous plugins such as 1176, LA2A and Fairchild (which I still find a harsh update price), but new plugins. Must have been more than a year and I can't see myself buy anything soon. I'd rather invest in new speakers, outboard or a better monitoring controller...and maybe the ProX2 update (depending on its update price). :)


  8. I haven't used Cubase in a while and therefore don't know what the arranger does exactly but if you're looking for a way to give your song a bit of visual structure...most people seem to be ok using blank MIDI objects. You can colour them in, change names and in combination with markers you can jump and play from there quite quickly. Surely not exactly the same but maybe a workaround for now?

    Cheers,

    Peter


  9. Install the iLok manager also on a computer with internet. Log in within the manager, you should see the license coming up under my licenses (think that's what it is called), drag and drop it onto the ilok on the left. Eject, plug into your studio computer which hopefully still has the manager installed (and therefore it has the drivers) and if the channelstrip is installed it should work. It sounds all more complicated than it actually is. Good luck.


  10. Meine ich ja, oder vielmehr - wir meinen das gleiche.

    Glaub ich auch.

    ...die eine interne Verzerrung im Grunde genommen unmöglich machen

    Genau, intern, wie gesagt jedoch nicht bei der Aufnahme von 'außen', die kann genauso übersteuern wenn die 32-bit Datei einfach 'zu heiß' aufgenommen wird, die rettet da nicht die Aufnahme durch den extra Headroom. Das wird gelegentlich bei 32-bit float interner Verarbeitung und Aufnahme verwechselt. Ich denke das weißt Du allerdings schon, ist halt manchmal einfach an einander vorbei zu reden. :)

    Wegen der Festplattenperformance - generell gebe ich Dir auch da recht, allerdings macht die sich Festplattenperformance bei meinen Laptops durchaus noch bemerkbar und (leider) werden die Sessions die ich zum mixen bekomme größer und größer. Wenn ich 100 Spuren in 32-bit im Vergleich zu 100 Spuren in 24-bit habe merke ich das auch beim Desktop Rechner. Daher hab ich mit 24-bit bisher keine schlechten Erfahrungen gemacht (macht es mir auch leichter zwischen PT und Sam hin und her zu wechseln). Generell sind es sowieso eher andere Sachen die ich mir wünschen würde um bessere Aufnahmen in besserer Qualität machen zu können, aber das ist eine andere Geschichte...

    Viele Grüße,

    Peter


  11. Es ist richtig, dass Sam intern mit 32-Bit float arbeitet. Derzeit ist jedoch (noch) kein AD Converter in der Lage das bei der Aufnahme voll auszunutzen (nicht mehr Headroom). Du kannst zwar "von außen" mit 32-bit aufnehmen, es wird allerdings keine Vorteile bringen, nur den Speicherbedarf erhöhen und dadurch Festplattenperformance verschlechtern. Es sind 24-bit Aufnahmen mit aufgefüllten Nullen.

    Die übliche Aussage für den Headroom greift jedoch für interne Weiterverarbeitung. Also füge ich meiner vorigen Aussage noch "interne Bounces und Freezes sollten in 32-bit sein um die volle Qualität zu behalten".

    Viele Grüße,

    Peter


  12. Siehst Du beim Import Dialog, dass die Wav files 16-bit sind? Wenn ja, dann wurden die schon so exportiert, sind 16-bit. Oder siehst Du die im Manager (Fenster->Objekt Manager) als 16-bit wenn die beim Import als 24 oder 32 angezeigt wurden?

    Wie exportierst Du Deine Dateien? Datei - > Export oder Werkezuge -> Bounce? Bei beiden kann man die Bit-Tiefe einstellen. Dort auf 32 stellen. Wie Werner schon schrieb, MP3 werden jedoch 16-bit bleiben.

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