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I used to do a lot of syncing of midi devices both to FSK and SMPTE/MTC, but I never had to cross the streams (had machines that just followed FSK natively and have never used a converter like you've got), and also it was almost 20 years ago when I stopped needing it, and I've killed most of the bra...

I just kind of happened to have a spare keyboard stand around, so most of my mic cables hang off of that. Then I decided to move the dresser out of my kids' room to give them more space, so I moved that to studio. It's got four drawers - headphones and stuff, mic and stuff, adapters and DIs and stuf...

Papanate wrote: ↑

Mon Nov 11, 2019 2:10 pm

(15 years old...) for the last couple of years.

How'd you manage that? I told mine he wasn't allowed to turn 10, so he's had seven 9th birthdays.

Tried that once a long time ago. It wasn't horrible, but I'm not going there anymore.

randrohe wrote: ↑

Wed Mar 20, 2019 9:30 pm

Hey Ashcat, could you give me an example of a non linear plug in?

Compressor, limiter, gate, expander, clipper, saturation, most "analog emulation" type things. Anything where the effect depends on the level.

It only matters if you have some non-linear processing on the bus/folder tracks, and then generally only because you'll need different settings on those plugins.

Honestly, straight varispeed is always the least damaging way to do it. In this case, it'll cause a 58 cent shift. Just over half a semitone. Nobody will ever notice unless they actually try to play along. It's a time-tested technique that really just works.

Short answer is no. The only way to accomplish it is literally resynthesis (what Ableton did for you) and it is always prone to potential artifacts. There ARE different algorithms out there, and some work better on certain material, but there's no one good answer. IDK if Ableton gives you any option...

...no killing my ears. An amp sim is no excuse. ;) It's still true that if you really want it to sound like it was loud - with all of the sustain and feedback that entails - then it actually has to be loud in real SPL at the guitar. I very often will run a dedicated output for the guitar after the ...

I make actual noise, so I've recorded some fairly unusual things. A stainless steel bowl with some change, some water, and a pair of those singing exercise ball things with dynamic mic on either side while I swirled it around. We once brought the corrugated steel sheet from the back wall of our carp...

I bet the tone controls on the amp weren't set flat. Filters affect phase. You'd probably do better limiting the frequency range of each of the tracks so that they don't overlap in the low end. A lot of people use the DI for the more open and dynamic low end and then highpass the amp track for the f...

I appreciate the responses, but I disagree. Higher load impedance is always better. 1G is way more than necessary for this purpose, but it sure ain't gonna hurt anything unless it adds more noise than necessary, but that's usually not a big issue in this kind of circuits. Whether the circuits meant ...

Well, the "capsule" is a speaker. The one I tried actually works pretty well, sounds suprisingly good, but it could use some gain. I figure it would be best to get that gain as close to the capsule as possible and an actual balanced output would also be nice for S/N reasons. I've got a couple of bro...

Anybody know if/where I might find a fully assembled circuit board for a condenser mic at a reasonable price. It seems like the kind of thing I'd be able to find on amazon for like $5, but I can't seem to find the right search terms. Everything I come up with is for electret elements expecting like ...

"doesn't work at all" tells us just about nothing, but it almost rules out blown speakers. It would take something really fucked up to blow both drivers at the same time. It might be something simple like an input wire come loose. Maybe something screwed up in the crossover network. You should take ...