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gacki

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  1. I know something like this can be done because I managed to do this with my xTouch mini. But it required a sort of "backchannel" to the controller. It's not exactly super easy but gave me the exact visual feedback on the controller itself. As far as I remember I even implemented a "set change" with the top row with the newly selected set just blinking until an actual patch from the set was called up. It's been some time that I did this (two years?) and I didn't have an opportunity to use this setup since then. So I might have forgotten some things; and I certainly would have to dig through my files to gather all the information.
  2. "relatively" sounds problematic. Why not do it absolutely? Full velocity should do the job. I'm getting exactly the same readings. Be sure to reset the meters before each attempt.
  3. Tears for Fears are currently making the rounds promoting their new album; and the keyboarder clearly has (among other things) a Macbook Pro running Mainstage: iRRLxxoc36k
  4. "Sine Level" sits before the amplifier hence it is affected by Env3. Distortion comes before the modulation effect. Both effects sit after the amplifier.
  5. I also found this (sadly not all pictures are loading anymore): https://brianli.com/the-definitive-guide-to-using-kontakt-with-mainstage/
  6. I'm sure there are different ways to accomplish this. One way is the "paste as alias" technique where a channel strip is basically "aliased" to the original sound. This can be useful when the same patch is used at several locations. Another way is the "use Kontakt as multichannel engine" technique: - add Kontakt on the Concert level - load the various sounds and set them to different MIDI channels - add a "MIDI activity" element in the Layout and set that to a specific IAC port (generate one if there isn't one yet) - assign the Kontakt channel strip to this new MIDI input Now you can create "External Instrument" strips in your patches. Assign the new MIDI port and desired channel to them; and voila: Kontakt behaves exactly like a multitimbral synthesizer/sampler.
  7. Basically it's subtractive synthesis with some bells and whistles. You have three oscillators that provide basic waveforms; also some FM and wavetables if desired. Two filters that can work either parallel or serial. Various modulators: two LFOs and three Envelopes (all three slightly different); and of course the vector envelope. A few basic effects, but no arpeggiator or sequencer. For many things the ES2 is my "weapon of choice"; Alchemy is too complex for most of my needs and Retro Synth often doesn't do it for me (except the Wavetable part which is in my opinion way better than the one in the ES2).
  8. I'm 5 minutes into the video and those are 5 minutes I will not get back. This seems to be a plugin targeted at a very specific musical demographic. I'll leave it at that.
  9. There are a couple of things that theoretically could have gone wrong here. What really would help would be a screenshot of the Audio/MIDI setup and one of the MIDI portion of the environment. Hit Command-0 and then select the "MIDI instruments" layer. I suspect that you may be using a Multi Instrument instead of two single MIDI instruments.
  10. I am not 100% sure, but have I mentioned the "esc" key? Just asking... On a more serious note: I'm working with Sibelius almost daily; this is from my point of view a completely trivial problem that can be solved directly inside Sibelius by hitting the "esc" key twice. That's how I've been doing it for years.
  11. Problem is, it will also still trigger the sound via Sibelius and IAC...
  12. Click on the system in Sibelius that has the sound you want ; then hit "esc" twice. In general: Before doing anything in Sibelius ALWAYS hit "esc" twice.
  13. As usual there is more to it: Steinberg isn't a Mac-only company. So the question how to bring their plugins to the Windows side also applies. While most Mac DAW's support AU not all do: Bitwig seems to be still VST-only.
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