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justthere

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  1. I did a series with full virtual orchestra, gamelan ensemble and rock band with ProTools recently, so yeah, almost anything will get you there if you feel good about it and it doesn't fight you. Cubase is surpassingly deep for external control via TouchOSC/Lemur/Open Stage or what have you, it has expression maps going for it, and I like some of how it handles latency, but it dislikes my hardware (HDX). DP has the most insane tempo mapping via hit points and its articulation management shows promise certainly but there's not so much you can do with scripting and at this point I feel like it almost requires Patchboard to be really great. I like things about Logic but I'm frustrated by its scripting that doesn't do what I want because of where in the hierarchy it operates. I've used ProTools the longest. It's transparent. Direct. Very little metaphor creep. Treats MIDI and audio the same mostly. Not made for massive templates but there are ways to manage them like using markers to show/hide groups of tracks. Soundflow takes it to another level of macro usage. Allows each region to have its own realtime MIDI properties, which is very useful. My favorite comping system because I know it the best. It doesn't seem to handle tons of VI's as well as some of these others, and has always (ironically for Avid) had issues with video for me to the point where I just got Video Sync and run that via MMC. So nobody is perfect but lots of cool things throughout. Utterly agreed about the rabbit hole of scripting and configuration in general. I'd hoped that VEPro would be the modular solution for DAW-agnostic library use I'd dreamed of - but the added latency has always been a real impediment, so I wind up having to use instrument tracks in whatever host, so there went that. Theoretically anyway, I like how Studio One handles latency with a dual-buffer system, but I just don't like being in there. Not going with Ableton. So... some of these manufacturers need to listen to what composers want because they want the same things as the kids do but the composers more often know how to talk about it.
  2. I’ve been thinking about being my DP up to the latest because of things it does that nothing else does; and Logic is cool (and the price is right) but I’d been working in Cubase because of the insane macros and generic remote trickery. Do you miss all the scripting from Logic or just work around it?
  3. That is the rub. Thank you for this. Btw, Dewdman, are you using Monterey with a big composing setup and tons of plugins?
  4. Lets say I want to do something to all things I've set to pizzicato. Possible using Articulation ID's as an event target? or if I'm using CC's to switch articulations would I just use the CC's presence and then target note events that are at the same time as those CC events?
  5. So the EvilDragon script works for me. The only limitation is that I have to make sure my switching happens after the last note off. Plus side is that it’s platform-agnostic. Downside is that I have to do more programming if so want it to work with specific apps’ art switching. But at the moment I don’t care. 73 articulations for Berlin standardized across sections with dedicated buttons in Composer Tools Pro. Helps me get through a cue in a massive way.
  6. 'Sup Dewd ... Capsule is so hungry (and cumbersome) that it's most efficient to run each one in its own. I've tried doing more and the controller response gets buggy. This is not true for other libraries with more efficient (or simply less) scripting - Spitfire SSO works fine and so does 8Dio stuff. But Capsule is a hog. The script you have described is pretty much what I've attempted on the multi level in Kontakt (I have to use a multi script because Capsule uses up all the scripting slots within each instance). Again, easy on paper, but somehow different in practice. I'm going to have to shift my focus from Kontakt scripting over to JS to make this happen. (And since I'm writing shows with deadlines and have family, that's slow going.) The reason I wish this could be done in Kontakt (and the very bright EvilDragon wrote a script for me to try, which I'll test today) is that it would make the library and its articulation switching platform-agnostic. I sequence primarily in Pro Tools and in Cubase, and I'd like whatever I did to work on anything. I have this feeling my kid will prefer Ableon Live, and I'd like her to to be able to get at my stuff too eventually. So I guess I'm going into the Logic scripting shed. The scripts you put up are very cool. And as far as UACC goes - it's really just a standardized way of assigning numbers to articulations and doing so using CC's, which chase, as opposed to key switches, which don't - but Logic's articulations do that also. And the articulations can respond to CC values too, so I could use my controlling software in the same way for all of my libraries. I'll see what I can come up with. I really wish that VEPro handled all of this. Maybe someday. Thanks!
  7. Hello folks - After attempting (and failing) to get this to work using Kontakt scripting, I’m looking at trying to get it done in Logic: I use Berlin Strings as part of a composing template. Because they make use of Capsule, an elaborate Kontakt script, adding scripts on top of that has been problematic. Even on the multi level, it just seems to be asking too much of the instrument. The library seems designed to work as a one-track-per-articulation scenario. As a contrast, the Spitfire libraries are designed to have all articulations available because each articulation has a specific cc value it responds to in the UACC protocol. So if you load, say, the core techniques patch, decorative techniques patch, sul G patch and Legato patch, and assign them to the same MIDI channel, an articulation will only play notes when it sees its controller value active. The benefit of this approach is that all patches receive and respond to all CC data - so if I’m doing dynamics via CC11 or CC2, the patches are all at the right dynamic even if they are not playing a note. You get the benefit of single-track-per-section, unified CC response, and the ability to adjust all mic positions for all instruments in a section at once. So back to Berlin. For each section I want to load around 60 articulations, each in their own instance of Kontakt, in VEPro7. I’d like to emulate the Spitfire scenario by having their articulations consistent across all sections. I would like for each instance to see incoming MIDI controllers, but to ignore note ons unless the instance sees CC33 at a specific value. So will the Logic articulation thing work for this? If I set them to their own channels and used VEPro in AU3 mode, I could address everything, but what about dynamics? Would that be smooth or would I have to bump it just after each change so the new articulation would adjust itself? Or - since I don’t really care about tge other benefits of the Logic articulation thing much as I use Composer Tools Pro to control everything - could this be accomplished with a script In Logic that allowed notes when CC33 at a certain value was present that I could put on each instrument track, with a track per articulation - and all of those tracks in a folder track? Any of this making sense? It’s a long way to go to emulate UACC but the way that works is great - I just prefer the sound of the Berlin Strings for what I’m doing now.
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