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David Rick

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  • Location
    Colorado, USA
  • Interests
    Classical and other acoustic music, location recording, surround production.

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  1. Whatever the problem was, the March 2019 Windows update fixed it. Music Maker now loads and runs. I would rather have Samplitude Music Studio on this tablet PC, because I ordinarily work at 96kHz, but it's not available in the Microsoft store. Music Maker is better than nothing.
  2. I made some progress on this. It occured to me that Instachord is performing a function very similar to that of an arpeggiator, so I did a search on that. Sure enough, Kraznet has made a video tutorial on how to make an arpeggiator work in Samplitude. Here it is:
  3. I'm not very experienced using virtual instruments, so this might be a novice question. I recently purchased a VSTi product called Instachord, which assists in performing guitar parts from keyboard. It's intended to be interposed between a keyboard controller (iRig Keys 37 in my case) and some VSTi capable of producing the actual sound samples. I don't understand how to do this. I know how to open a MIDI track, select an instrument in Independence, and monitor or record the resulting audio. I can also insert the Instachord VSTi on a track and see that a single key on my controller is now triggering multiple midi notes. It seems like I should just be able to add Independence into the second insert slot and get audio, but when I try that, there is no longer an option to add a VSTi plug in, only VST audio plug ins. What am I missing?
  4. The change from "S" to regular Windows is a one-way decision. So far, I've been trying to get by in S mode because the Surface Go is my travel PC, and gets used on all kinds of sketchy public networks. I've put in a support request at Magix, but their first reply was "please run this Syscheck program". Of course that can't be run under Windows S. You would think if Microsoft allows an app like Music Maker to be distributed through the Windows Store, they would insist that it actually run on Microsoft's own hardware...
  5. No, it's a Surface Go. Pretty limited, but perfect for traveling. Did you get MM from the Microsoft Store, or through a convention channel?
  6. Has anybody gotten Music Maker to work on a Microsoft Surface Go? I'm running Windows S on this tablet, so I'm limited to software from the Microsoft Store. I downloaded Music Maker from there, but when I run it I see a series of splash screens and then it exists.
  7. Check out this thread (and keep your fingers crossed for improvements in version 12). Hardware Inserts -- the good the bad and the ugly
  8. I've been asking for a smoothing feature in FFT Filter for some time. The smoother the curve, the fewer time-domain artifacts; sharp steps make time-domain ringing. But I'm not sure if that's what you're asking for. If you just want to push a peak up or down, use the nudge tool, and click above the curve (or below to raise it). The farther away you click, the wider and smoother will be the adjustment. Unless you're trying to do some tight surgical thing, it's often better to start with a flat curve and nudge it into what you want rather than trying to draw it. David L. Rick Seventh String Recording
  9. Hi Ulrich, I'm guessing the "coarse" ADC could then have larger steps at larger signal amplitudes, which could yield the same dynamic range as 28-bit LPCM. It would have much larger quantization error for large signals (which I observed), but that could still be tolerable on a percentage basis. The "fine" ADC would be used near zero, to prevent crossover distortion. There are other interesting things one can do with two ADC's, such as pipeline conversion, but I think Neuman's choice avoids a very difficult linearity adjustment process: below a certain signal level their design probably reverts to a single ADC outputting LPCM, with no special adjustment required. Now to call it a "28-bit" ADC... well, you can't ever turn your back on those marketing folks! David
  10. I have lost the paper that explained how they did this. It is not 28 bits of LPCM -- I think it involves some noise shaping. By direct observation, there are visible quantization steps on large drum transients. The session was being tracked to Pro Tools, and I could see large steps on the computer screen in comparison with analog mics that had none. Of course the steps down near zero are certainly much smaller, or the distortion would be intollerable. But it seems that large steps on large signal excursions are part of the design. I was very curious about the spectral effect of this, but there were no analysis tools loaded on the tracking computer. For the record, the mic (TLM-103D) sounded quite good. But I take the "28 bit" claim with 1mm^3 of NaCl. Interestingly, the new digital bodies for Sennheiser's 8000 series mics use conventional PCM converter chips. David L. Rick Seventh String Recording
  11. You've made an a priori decision to have it peak at -4 dBFS? I don't really understand why, but the easiest way would be to play the loudest part, hit the N (for normalize) key in the master section, and then back off the fader by 4 (well, 3.9) dB. David
  12. Hilft die Idee in diesem URL Ihnen? Ich kenne nur etwas deutsche Sprache, aber Sebastian kann erklären.
  13. I noticed the same limitaton on a project last week. I wanted to hear only the return from a hardware reverb. My work-around was to temporarily change the aux send to per-fader, and pull down the fader on the vocal track in question. David
  14. Some people want the faders on their hardware controller to go up and down during playback because it impresses the clients. Personally, I think it would be nice if this could be changed in the program preferences dialog, instead of having to edit the INI file. I like the =2 behavior, but I could imagine wanting to modify it in a hurry when an impressionable client walked into the room. Especially if she's pretty! David
  15. For a single-license shop like me, the main attractions are: Source/Destination editing with four-point cut is excellent for classical editing "Transfer Cuts" lets you edit a guide track, then do the same thing to a bunch of parallel tracks Advanced crossfade editor makes difficult edits easier Multi-source projects allow a hierarchical approach to large jobs Clipstore can be handy for radio production Cleaning and Restoration Suite comes standard Can preview word length reduction with dither/noise shaping in real time -- useful for mastering creates DDP's without an external tool -- no more worrying whether your CDR is "good enough" to replicate supports SMPTE sync Sequoia also has a several features oriented towards audio production by large editing teams, including multi-user administration and some other stuff I don't remember.
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