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Razor

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  1. No, I don't. Just stumbled across this 10 years later....still the most unhelpful answer....lol
  2. Thanks for your response. I have had a look at their site just now but looking through brings me back to the same point as the beginning. I can't find any reference to the Ohm settings at all. I am not looking to buy another DI or a re-amp box, just hoping to find something that might refer to it somewhere so I can figure it out.
  3. Hello all. I have got a ETEK Multi DI second hand but I can not find a manual anywhere online or otherwise. It has a 0/-20dB/-40dB Pad setting on it which will be for signal attenuation. It has a GND/Lift setting which will allow for Group loop issues. ...but the part I am stuck with is the OHM setting available. I can switch between 400k/22k/2.2k Ohm. I am ASSUMING the\is is for line balancing for things like re-amping etc, but I can not find any material to reference as to how I would choose these settings? I was/am intending to use the DI as a re-amping Di so I can feed out of my Focusrite Saffire Pro 40, Through the DI and then into an amp or similar to re-record with mic etc. Can anyone give me some pointers or a reference online anywhere? Any help greatly appreciated.
  4. I have had a poke around and I can not find this so I will ask. I would like to be able to have the AUX or BUS strips in the mixer, be a different colour than a normal audio or instrument track. I have figured out how to get the AUXes to sit next to the tracks that are Bussing to them, but I REALLY would like them to be a different colour. At the moment I just use a different colour for the track (that shows up under each track at the bottom of the mix window), but it is not helping much. I would like it if the whole strip could be coloured somehow. Any ideas?
  5. Matt, I don't know if this helps at all, but the very first thing that come to mind was to try use the noise gate. Record some "silence" then put the noise gate on the channel and adjust the threshold til you see it opening/shutting Then check out the reading of when it kicks in. I may be WAAYYY off but does this help?
  6. Instead of setting them to No Output, using pre-fader sends and having to adjust a bunch of send levels, it's easier to set all the channel strip outputs to an unused bus and put the effects on the associated Aux. Yes, even betterer! (more than one way to skin a cat eh?) +1 redlogic Only real difference is if you are sending to multiple busses/auxes, but even that can be done both ways. Cheers.
  7. Bruce, To simplify it right down. You put effects on the actual audio track to effect the ACTUAL sound of that audio The concept of the bussing to an AUX in THIS discussion is to give you ANOTHER copy of the audio to modify in a completely different way, say for instance, adding a large amount of reverb whilst removing the original "dry" audo... or panning... or whatever... Then you can adjust the faders of each of the original and aux independently to blend the sound to suit your own taste. Another example of a good use of bussing to an aux is where you have multiple guitars, or vocals, or drum parts and you want to compress them together and/or eq them together or add a little room reverb for ambience etc etc. You get the individual tracks sounding the way you want them, then turn off their output, and buss them down to a common aux channel. Send them down Pre-Fader, with the sends adjusted to your required levels. Then put your compressor, eq, reverb etc on the aux track and affect all of the tacks coming through that aux as a whole. I hope this helps.
  8. Thanks, rhys. Yes, this makes sense, but in this particular application, wouldn't the processing on the SFX be so track-unique, for lack of a better term, that it would be unlikely that any other tracks could benefit from this EQ, reverb, and volume? Sorry to be a pain! -Bruce Bruce, By Bussing to an aux, you can apply the effects to the aux track and have it sent pre fader. You would then have the aux completely "wet" ie, no dry signal (original signal) in there at all. That way you can blend the wet and dry tracks easily to suit. If you want multiple vocals to be affected in the same way, you can send them down the same bus. If you want to automate the effects (ie more effect in the chorus, less in verse, or bridge or whatever) this makes it really simple. Is this what you were asking?
  9. Are the sustain pedal on/off's appearing in the event list? If so, what values are they returning?
  10. I had a similar issue with a previous interface I was using. It would appear to be a SYNC issue. Something about the multiple devices on the USB was giving me delay and distortion AFTER A PERIOD OF TIME, which could be immediately resolved by re-setting or changing the core audio settings. It would seem to just lose sync after a while and get worse and worse. I would suggest you investigate the MIDI clock and USB syc side of things. I changed my interface to a FIREWIRE Saffire Pro 40... and everything ROCKS! ...haven't had a single issue since.
  11. I was going to reply but I see Tristancalvaire and rhys have done a pretty good job already. So instead, I will ask "Did you get it all sorted?"
  12. Two quick ideas, Pad holding chord with compressor ducking the pad in time with the kick/snare/whatever beat with automation fading the pad in to suit. First note of the new section copied, time stretched to 3 beats,pasted BEFORE the anticipated drop, faded in with a ringshifter automated to reduce and resolve on the first note of the next bar. Have fun!
  13. Excellent, will look into this tomorrow... see what I can find out. Thanks heaps.
  14. Yeah I was afraid of that, I am not exactly a guitar player as such and so I really don't have a decent rig or amp to speak of. I think I am going to do some investigating of re-amping a guitar out of Logic through my Saffire, out through a PA speaker and mic it back in. The PA speaker is not going to be beautiful as far as tone, but I want to hear what tone it does have to see if it helps anything. Also if I can find some way of 'amping' the signal through a speaker, I will be able to capture the natural speaker compression of the signal. I have done some investigations tonight with layering and using sample delay and small pans and the sound is thickening wonderfully. Now to just get a better tone and 'sit' in the mix. Still keen for any more feedback or comments from anyone, and thanks Gravity Jim. Appreciated.
  15. +1. That and the normalize option. They smell like GarageBand/iPhone-era options that are supposed to simplify the newbie's workflow but they create more issues than they solve. +2
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