drakepeterdrake Posted March 3, 2018 Share Posted March 3, 2018 Dewdman, thanks for the reply. I think I was using the wrong terminology. I was trying to assign an external instrument to an aux track. I followed your directions, and the only multi-out plugin I seem to have is the drum kit. I created the extra mixer channels and tracks, and dragged a midi region from an external instrument into one of those tracks. In the inspector I can specify the midi channel, but not the port to which the midi info should be transmitted. I have been struggling with inconsistencies using Low-latency mode with external instruments ans hoped using aux tracks for them instead of instrument tracks would improve things. P Quote Link to comment Share on other sites More sharing options...
Dewdman42 Posted March 3, 2018 Share Posted March 3, 2018 In this mode you don’t need to specify the port. LPX automagically sends the regions on that track to the instrument associated with the aux Quote Link to comment Share on other sites More sharing options...
drakepeterdrake Posted March 3, 2018 Share Posted March 3, 2018 OK, but how do I assign an external instrument to an aux, please? When I sent an external midi bass track to the aux I created via the multi-output drums plugin, it still played the drums and I couldn't reassign the instrument. I know how to make an aux and then a channel in the mixer. When I assigned the out of the bass part via a bus to the in of the aux, it was fine. But, to get audio into LPX via the external instrument plugin, I had to specify an input, which then automatically put the external instrument into auto-compensate for latency. In the article that was sent to me from Apple, it said I didn't need to have auto-compensate on if the instrument was assigned to an aux. I'm obviously not getting something basic, here. Thanks. Quote Link to comment Share on other sites More sharing options...
Dewdman42 Posted March 3, 2018 Share Posted March 3, 2018 I don’t think it’s possible to use eric’s Trick with external inst plugin because it’s not a multi-out instrument. What Apple article are you referring to? Regarding external instruments and aux’s there are several ways to get the audio back into LPX and that is kind of a separate topic from this thread, and not related to eric’s tip either. I’d suggest starting a new thread asking about how to get audio back from an external inst Quote Link to comment Share on other sites More sharing options...
drakepeterdrake Posted March 3, 2018 Share Posted March 3, 2018 OK, thanks. P Quote Link to comment Share on other sites More sharing options...
Dewdman42 Posted March 5, 2018 Share Posted March 5, 2018 I just wanted to update this thread about Vienna Ensemble Pro. I ended up buying it last week while it was on sale and probably will end up building a slave machine now too. But as it pertains to this thread, I just want to say that I feel VEP is more conducive to working with multi-timbral modes then with single-instrument per track, in order to keep the number of VEP instances to a more manageable count. I feel that it works very well in either of the two main multi-timbral approaches I mentioned earlier, but the New Tracks Wizard approach is the one to use if you want to premix multi's into stereo within VEP before bringing back to LPX as a single mixed stereo channel. I'm not really sure that VEP really does all that much that can't be done directly in LPX regarding multi-timbral, but it does provide the following benefits, which were worth it to me for larger orch mockup situations in particular: When I freeze or bounce a track in LPX, there is no easy way to completely free up the plugin resources, ram used by samples, etc. With VEP, I can freeze or bounce a track and then go over to VEP and disable the instrument, which DOES free up the ram and CPU. And the enable/disable button is controllable via midi, which means it can be controlled from touchosc or various other means originating from LPX if you desire. This provides a more effect LPX track freeze in terms of actually freeing up some resources. It can be beneficial to have an instrument setup that stays the same across multiple projects, for example, multiple film cues of a single film. By hosting all the samples in VEP in a consistent and steady state, each related LPX project will have a similar sound. You can even go so far as to do a lot of the level, panning, early reflection stage placement, basic EQ, in VEP..so that the LPX projects will sound consistent. And you won't have to wait to load samples when flipping between cue projects. This same idea could be applied to non orchestral projects, for example if you have a drum and bass setup you always like to use, etc. The option to get up to 3 slave machines involved is interesting in a number of ways and I will probably end up doing so. This can provide, again, reusable multi-timbral setups that are always on and ready to go, and frees up the DAW machine to focus on other instruments and mixing plugins, and reduces setup time for loading up sample-based instruments. The workflow will translate to other DAW's as well. Quote Link to comment Share on other sites More sharing options...
hecksome Posted March 5, 2018 Share Posted March 5, 2018 I'd never dug around enough in VEP to try out the enable / disable channel. Good tip! Thanks for the update! I agree the multi-timbral setup is great with VEP. Quote Link to comment Share on other sites More sharing options...
Dewdman42 Posted March 5, 2018 Share Posted March 5, 2018 I've seen some people talking about setting up some macros with TouchOSC, for example, that can both mute the channel and disable the instrument in VEP. Its quite possible it would be possible to make a macro that bounces a track, mutes it and disables it in VEP, all with one click. Anyway, I digress... Quote Link to comment Share on other sites More sharing options...
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