Jump to content

b born droid

Members
  • Content Count

    773
  • Joined

  • Last visited

Everything posted by b born droid

  1. Slaving PT to another PT machine is a fucking dream. I regularly have to do it remotely with other studios and find it incredibly stable, but as with most things, it clearly doesn't like being slave to anything else. I guess by design manufacturers want their programme to be the centre point. Gesendet von meinem SM-A320FL mit Tapatalk
  2. Oooh I've been looking for a reason to buy the Faderport for a while now hahaha. This could be a good fallback option, might have to fiddle around with this. Cheers. No worries. Yeah I remember trying to use Ableton as a MIDI slave when I was in a band and we had two copies of Ableton running; the slave was always sketchy as fuck.
  3. I'm trying to be difficult that's what 😀 All my gear is at home where I write/record. But I mix all my stuff on the Pro Tools rig at work, and considering I have a PC sitting here at home with a copy of Pro Tools, it'd be really fucking useful if I could track everything inside the same DAW and not have to fuck about with say, recording in one DAW, and then exporting blah blah blah. And I want to slave PT so I can easily do overdubs; press play on my hardware and PT will run back with any prerecorded tracks that'll be in time with anything running on my hardware. But PT only accepts MTC or MMC, neither of fucking which I can seem to generate from any of my hardware (BSP/A4/DigiTakt). And I don't want to have to make my DAW the master because I don't always have it on when I'm fucking around with ideas; only when I wanna record/track some tunes. I have a feeling I'm going to have to work in two separate DAWs and constantly import/export stuff 💔😡
  4. Is there any software out there that can generate MTC from a MIDI Clock signal or am I forever going to have to use DAWs that will slave to MIDI Clock?
  5. I don't think so. The simultaneous bit is batch fades. If that makes sense. Gesendet von meinem SM-A320FL mit Tapatalk
  6. What version of Pro Tools do you have because that is definitely an option on mine (if I've understood correctly what you want to do). Sorry it's in german, but for all the fade in / crossfade / fade out sections the 2nd and 3rd options are: Adjust the shape and slope of existing fade-ins (Form und Steilheit bestehender Fade-Ins anpassen) Adjust the length of existing fade-ins. (Länge bestehender Fade-Ins anpassen)
  7. I'll try to remember to look at the batch fade options when I get into work on Monday, don't have PT at home unfortunately. I swear what you want to do is in there somewhere.
  8. 1. Isn't this just a function within batch fades? I'm sure there's an option that says "override current/previous fades" or somesuch? 2. If you've selected something then hit 4 on the keypad as that scrolls through playback options. You'll see the play button on the transport add a loop icon. That way when you play a selection it'll automatically loop. If you don't have a keypad keyboard (i.e. the extra numbers on the right hand side, I'm there's there's a way for Pro Tools to recognise when you press 4 on the top row if you press fn and 4 or something.... I've forgotten. The numbers 1-5 across the top row are different zooms) 3. It could fuck with how you view but Options > Edit Window Scrolling > No Scrolling. Then anywhere you click as soon as you start to zoom then it'll center itself. Pro Tools lover over here and proud!
  9. Yeah someone in the DFAM thread on gearslutz put a link up to someone selling Moog-like knobs that you could fit onto the DFAM. Makes such a difference imo because as you say, the tiny ones that are there for pitch and velocity were a right ballache to deal with. And cheers for the kind words guys!
  10. Yeah I built some of my previous one, but when I moved to Germany I had to get rid of it. It's definitely tempting to maybe design something myself tailored to what I need, but I think this..... ...might be the best option.
  11. I moved into my new flat almost 18 months ago and I've been so slack sorting things out but it's pretty much there now. A month or so ago I got some acoustic panels free from work. Bought some thin felt and wrapped them cause they looked like shit. Also bought a diffuser the other day. I'm never gonna get it perfect because a) I live here b) the room is an openplay kitchen/living room and c) I effectively have two listening spots - where I DJ and where I compose. So I'm just looking to make sure it sounds fairly even across the board. Final mixing I do in the studio at work. But in general it's sounding pretty sweet - I just have a problem with slapback from the two blank walls at the kitchen end (behind where I took the pics basically). At some point I might buy a couple more diffusers for the kitchen, but right now I need to get a couple more pictures framed and up on the wall. \
  12. Where do you lot buy your studio furniture from? I need a new desk that has a keyboard (as in for typing) tray. I use hardware but not being able to edit audio without having to move shit is driving me up the fucking wall. Thinking maybe just a normal computer desk.... I have separate speaker stands and I don't really need extra levels on the top segment either.
  13. I'm always wary of frequency masking and having too many instruments in a similar range. Just cause it sounds great soloed doesn't mean shit. Also, through spending years of editing dialogue with the spectral analyser in RX I've got ok at being able to roughly estimate the frequency of difficult/annoying sounds in order to EQ out some shit and get a bit more clarity. Having a visual back up like FabFilter EQ is great but being able to recognise frequencies just helps with composition and stop me layering up too much shite and losing any clarity. I still suck at it mind you.
  14. I've only seen a few videos of the Model:Cycles but what I have seen I really enjoyed. Same with the Model:Samples. Fact is, not everyone wants to spend half their time menu diving on a system that needs you to chuck anywhere upto €1500 at it and that can takes years to master. Plus they look like good stepping stones if you're just starting too. I didn't enjoy my A4 anywhere near as much until I got my hands on the Digitakt and became a little less overwhelmed with the whole thing.
  15. Is it possible to use a launchpad or something and have that looking at the next page?
  16. ooooh that's not a bad shout at all, hadn't considered that. Will look into it. Cheers.
  17. I've just managed to get a load of absorbers from work that we're not using anymore. Nice and light and can tape to the walls easily but I wanna cover them with something so they look a bit nicer. Was thinking just like a 1mm felt or something? Is there something I should be looking out for or is there something better? It is an aesthetic thing but I also don't wanna use something that's just gonna fuck with the effect. I do however have a fucking shocking lack of knowledge when it comes to acoustics. Any suggestions?
  18. am i being a moron or is this not available anymore? anyone got a copy?
  19. is this a negative or positive comment? I have a BSP and I really like it but sometimes the lack of keyboard and sequencing options is annoying. Ultimately I just don't have enough external synths that require sequencing but if I did I'd be all over this for €400.
  20. Plus he's a bloody nice guy and a fucking huge autechre fan so gets a pass in my book.
  21. I have 8ins and I'll record as many as I'm using separately. Either I'm gonna accidentally make a mistake that I can quickly copy/paste out on a track at a later date, but mainly I compose at home (which sounds like shit) and then mix later in the studio at work, so there's no fucking way I'm committing that down to stereo in a room that I know I can't trust. I also have some gear that I like to later run through external gear and I want to be able to really push that without having to deal with elements in the signal that I don't want to touch. I'm all for committing things down from a performance point of view, but fuck not being able to dig into bits from a mix point of view. But I very much like to separate each process; Composition/recording. Mix. Master.
  22. Actually I fucked that up, the tails are only there on bypass kills, but even so, pretty powerful.
  23. After pissing about for ages I finally got round to hooking up my Digitakt to the Big Sky via midi so I can step sequence the Big Sky. It's so fucking good, especially being able to toggle the tails on and off when changing presets throughout a pattern. This just opened up the pedal about ten fold for me.
×
×
  • Create New...