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Everything posted by tlwebb

  1. I'm not a PT user, but check out user Kraznet's videos on YouTube and elsewhere (just Google "Kraznet Samplitude Video Tutorial"). His knowledge is encyclopedic and his presentation/production clean, direct and pretty much crystal clear. Especially check out the series on the Object Editor. Object editing is one of the program's best features and there's a lot to be learned. Have fun.
  2. @ mathias: good of you to check out silver and make these suggestions. Wish I'd had the inspiration. @Airova I didn't think of it, and I'm away from home helping my son with some home improvement projects, but Mathias has pointed a way. In fact, what he suggests is actually what we had to do in the days of using tape to do personal projects (even studio projects in the early days). I was lucky and had a 4-track recorder, and another 2 track. Laying tracks in those days was just as mathias suggests: midi tracks you sequenced in another application, but rendered to an audio track on tape. You can do that all in one program now. You mixed and bounced tracks as you went along. It took lots of work, and often took several tapes, but in the end you got what you were after: a two-track "mix" of your song(s). We're spoiled today, but even with basic tools you can do good things. And Samp's tools are darn good. The audio engine itself draws users. Object editing is almost unbelievable. Learn the tools and when you can afford to advance, the basics will still be the same, only the limits and capabilities will expand.
  3. you got me on that one!! Not sure I've ever encountered that situation. Sorry.
  4. redddog try clicking on the down-arrow on the right hand side of the slot in the plugins list and selecting "no effect" (I think that's the wording). This behavior has been commented upon more than a few times through the years, so you're not alone on this one.
  5. I'm way from any sort of expert, but check your mouse mode and quantization settings?
  6. By far the best way to get a good overview of the many features of the midi editor is to check out Kraznet's video tutorials. I think they should be required viewing. Just search "youtube kraznet midi editor tutorial". EDIT: Should have added that in fact, Kraznet's tutorials are probably the best way to get a grasp of ANY Sampliquoia feature!!
  7. These posts are on the newcomer forum. Are you registered on the full users forum as well? It strikes me that at some point in the not so distant past there was a question (probably in the Software forum) about using object names for bounced/exported files. If you're registered, you could do a search there. Although my usual work involves bouncing and exporting files for every Sunday homily I record, edit, and pass along for posting to the parish website, the naming in my workflow is pretty fixed, and not at all related to the individual objects in the edit, final bounce of the mix, or the mp3s I send off to the website person. I know about the objects-to-separate-files option because that one comes up all the time, so I've seen that on many occasions, but the file-names-from-object-names is a rarer inquiry.
  8. That's odd. If I specify a name when requested in the dialog like "name", it usually creates the individual wav files as name.wav, name01.wav, name02.wav, etc. Granted, I don't think I actually use the object names that much in the sort of things I usually do. Plus, I usually bounce files to a sub-directory, but I don't think that would have any bearing on the naming. Still, there has to be something unique about each filename, at least in Windows: you just can't have two different files with exactly the same name.
  9. You don't say which version you're using, but I'm assuming ProX/ProX Suite. Try using File->Track Bouncing... rather than FIle->Export Audio. One of the options in the Vertical/Special Functions control is "Bounce all selected objects individually". I think that'll do what you want.
  10. Sounds like one of the "link..." object modes is set. Just type "link" in the help index and you'll get a description of them and a shot of the toolbar for checking/setting/re-setting
  11. I'll second that! We've had a couple of guest speakers at our church whose voices/deliveries reacted unfavorably with our sound system and building acoustics. It was a bit difficult zeroing in on the right frequencies, but once I found them and saved presets, the filter on an object cleaned it up real nicely. FWIW, I bought DeVerb on sale--I'd tried the demo once before and it didn't do all that well with the particular problem I was having at that time, but it did take care of some other issues I tried it on, so the sale price was well worth it I think. I don't have much control over the presenters, room acoustics, or PA setup so much of my work is clean-up in the editing. I'm delighted when a new tool comes along that eases that chore.
  12. Thrust Maybe I'm missing something, but I wonder: if you're not syncing to any software, and you haven't mentioned any external hardware, why are you trying to sync MX to the SmartSync, and what are you sync'ing to, a striped audio track that's now in StudioMX? I'm just curious. I got a Cooper PPS-2 way back when to sync an Alesis SR-16 with my Tascam 464 recorder (yes, that was a very long time ago). I don't have StudioMX, but Samp ProX and V11Pro and had never thought to use the PPS2. Might be interesting.
  13. Try looking here C:\Documents and Settings\All Users\Application Data\MAGIX\Samplitude_Pro_X\_Demo The "All Users" part may be different depending on how you installed the program
  14. Did you try clicking the "Visualization" button in the bar immediately above the transport in your screenshot? You may have to play with the options to get back exactly what you had.
  15. Chris, Sorry, I guess I'm not understanding, but a couple of observations. In either the Transparent or Interleaved mode, the actual overlapped waveforms/samples are still difficult to see unless you use something like red/blue alternation mode or some other means to clearly differentiate between the two. Perhaps I'm a bit dense this morning, but I'm not at all clear on what you're saying here. As I understand things, the "overlap" these functions help clarify is the area of a cross-fade "connecting" the two objects. Beyond the boundaries of the cross-fade, you would logically only be able to see the "active" object, even if the original "end" of the first object would lie beyond the right hand side of the cross-fade. I think what you're saying is that you want to drop a smaller second object somewhere in the middle of a larger first object, and it won't let you do that. It won't as far as I know. I think what you'd have to do is split the original large object into two, and then insert the original second object between them, adjusting the two cross fades to "replace" the part of the original desired. Does that make sense? I wish I knew how to make and post one of those little videos to illustrate the point, but video is a bit beyond my capabilities at this point.
  16. Chris It's in the System/Audio Options -- Hit the "Y" key; then go to the Design->View Options page. I think what you're after is in the Waveform Display frame.
  17. Thanks for taking the time to reply. I actually considered this approach, based on something I'd read in the Samplitude forum. I downloaded the Reaper demo, but as I mentioned before, Samplitude is the only digital audio app (well, aside from some brief and limited experience with Audacity) I've used, and I just couldn't "get" the Reaper interface in the brief time I tried it. Since your advice echo's that I've heard before, perhaps I'll try again, although since I've finally moved the workstation to the choir loft of the church, it'll be a bit more difficult to reinstall Reaper. To be honest, I've just gotten the workstation over there, tomorrow is the first "test" of the setup...I'll also use the little digital recorder with analog connections I've been using as well, just in case the workstation installation doesn't work, but at least I only need a couple of channels for that. Thanks again for the suggestion ... and the warning about the pans!
  18. Bill, Thanks for the good advice, and you can't imagine how honored I am at your taking time to share your vast experience. Part of the problem at the church is the sound system itself, but more than that the people who use it and the way they use it. We generally have solid, capable equipment, but in many ways it's configured for convenience more than anything else. There is no "mixing" for the six or seven services each weekend or the two daily masses: the board is basically set to one default that is acceptable for all the various uses the church building is used for but ideal for none, and stays there. I tried setting up "shapshots" on the mixer for a couple of the more system intensive music groups, but nobody wanted to walk to the back of the church and up the steep narrow stairs to the old choir loft (which is where they put the mixer when it was installed) to change them, and more importantly to change them back after they were done. There were many shortcuts taken during the installation to keep the cost at an affordable level. I've remedied many of those, but the basic problem is a lack of people (or time, as in my case) to actually support a real "sound system". Most people here think it just happens, and simply have no idea of what's involved. It was the current pastor's idea to do these recordings...he'd been stationed somewhere where they had something set up to do it (he made is sound as if there was just one button), but he has no idea of how it was done, or what did it. The CDs (or tapes) idea was based on that memory. For these initial trials, I've been editing the basic recordings and bouncing the final mix to a couple of different MP3 formats for the guy who does the parish website to make available there. So far, none of them have shown up, but it's only been a few weeks and he, like me, is a volunteer who knows things can be done, doesn't always just know how to make them happen and has limited time to do it. Thanks again for the advice. I think I have one try to get this recording workstation put together, and was trying to anticipate what I needed to do for the most complicated, but reasonable request I may need to address (I HAVE been a design engineer for 37 years). Between Mac and you, I think I've got enough confidence now that I've got enough options at my disposal without having to worry about taking my dongle every time I go over there, and remembering to bring it back home with me. Thanks for that.
  19. mac, I hadn't thought of that. In the short time I've had the card, I've never even used Digicheck other than to download it (the card didn't come with any of the drivers or docs) and install it. Tried it out this afternoon and it's really pretty good for what I need to do. Thanks. terry
  20. I hope this isn't too long. Though I've owned and "used" Samplitude for many,many years and am currently using V11 Pro, I've posted on the Newcomer's forum because I still consider myself a rank beginner (until recently, Samp was an occasionally used "hobby" for me), this is FAR from a "professional" application, and just because I didn't want to clutter up all the ProX release excitement on the Software forum. Since I've taken an early retirement, I now have a bit more time. Co-incidently, my church has decided that they want to start recording and posting, or at least giving away CDs of, Sunday sermons and certain other special services. I've been recording various special events as experiments for a while. Since I am the de facto audio expert (I maintain and, how shall we say, upgrade the church and parish hall audio systems), it has fallen to me to set this up. For the initial trials, I've been essentially moving my dedicated DAW computer from home to the church for these events. This is not a tenable solution for this new, every week, activity. The church has a Spirit Digital 328 mixer with three ADAT light-pipe outputs and an SPDIF In/Out coax pair. I originally used analog signal outputs into my DAW sound interfaces, but I recently picked up an RME DSP 9652 from a guy changing interfaces. I've set up a 26 mono channel template. Although I have seldom simultaneously actually recorded all 26 channels, taking the direct DAC inputs from the mixer has worked very, very well--far better than any of the analog schemes I've tried. I have recently set up an older computer around the Hammerfall interface, with a new SATA drive controller and disks that I intend to install and leave at the church just for this purpose. My problem, of course, is that now I need to move my dongle from my dedicated machine at home to use the one at church, and this is not working out so well. I'd love to continue to use Samplitude, if only because it's really the only "real" DAW app I've ever used. I'd just load my original Version 9SE on the church machine, but it won't allow me to record 26 channels at once. I believe this would also apply to the newer Samp Producer and Music Maker products. Since I upgraded my Samp10Classic to v11Classic and then to Pro, I don't believe it's possible to use any of those. So my question is, what software should I be looking at for this task? I don't think the church workstation will ever be used for anything other than recording and then transferring the WAV files to a flash drive, or maybe data DVD, for me to edit, clean up and mix at home. So lots of editing features, midi instruments (though it might be nice to be able to use the "tape" controls on the mixer via midi to control the DAW, this is really NOT a requirement), and effects plugins are totally irrelevant. Keeping in mind my "limited" technical ability, the current hardware constraints, and the obviously low-budget nature of this project, are there any recommendations for software for this task? Nobody expects the results to be anywhere close to "professional audio" -- our church is a fairly large, very reverberant space, lots of people (with kids, infants, the wooden pews, etc), our sound system is adequate, but more set up for convenient use by untrained volunteers who normally just hit the remote switch to the power sequencer to turn it on and off, and to survive the inevitable abuses occasionally imposed upon it by these types of individuals connecting and disconnecting inputs. The recording system may require an equally "simple" workflow simply because I won't be able to personally do all of the recordings, so a relatively easy interface (things like a common template or templates, customizable menus and shortcuts that I can set up--I've a fair amount of "work process automation" experience) would be a real plus. Thanks for any input. terry webb benicia, ca, usa
  21. The menu I'm talking about is in the eFX GUI Compressor window, not the main Samp ones. Again, sorry I don't have Producer to check, but here if I add eFX Compressor as a plugin on a track (select the track in the Arranger window, expand the "Plugins" bar in the Track Editor [below "Audio"], then insert an eFX instance, the compressor GUI opens. The "Side Chain Input" menu item is the third one from the left.
  22. bookz I don't use Producer, but at least in my version, under the "Side Chain Input" menu, the "available" channels are listed below a "divider" line below the "Side Chain Filter..." item. Set the "Side Chain In" item, then select the channel below. An Aux send gets created in the mixer on the channel(s) selected.
  23. Not sure what your bookmark may be but here's the address from mine--works every time! http://support2.magix.net/boards/samplitude/index.php
  24. falcone just got home from work and gave it a try. worked perfectly!!! thanks so much terry PS I see I should at least put together a sig: never felt confident enough to post before, and this time I really didn't notice till my post sort of stuck out. thanks again
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