Home » The PARIS Forums » PARIS: Main » Urgent, need advice on one clip.
| Urgent, need advice on one clip. [message #68273] |
Mon, 15 May 2006 12:43  |
cujo
Messages: 285
Registered: July 2005
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Senior Member |
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> Do you have the little yellow speaker icon lit on =
the=20
selected=3D20<BR>> tracks?<BR>><BR>>= 20
David.<BR>><BR>> Tom Bruhl=3D20<BR>> =20
wrote:<BR>> > I can't hear my MIDI parts as I'm playing=20
=3D<BR>>them when=3D20<BR>> printing<BR>> > in =
Cubase SX=20
2.1. I have Midi thru =3D<BR>>On in=3D20<BR>> Preferences. =
The<BR>> > track plays back perfectly =3D<BR>>but=20
never=3D20<BR>> can be heard as I'm playing it.<BR>> =
> I am=20
outputing data =3D<BR>>to the=3D20<BR>> correct MIDI =
channel/port=20
too.<BR>> > =3D3D20<BR>> =3D<BR>>>=20
What=3D20<BR>> settings am I missing?<BR>> >=20
Tom<BR>>
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| Re: Urgent, need advice on one clip. [message #68277 is a reply to message #68276] |
Mon, 15 May 2006 13:34  |
EK Sound
Messages: 939
Registered: June 2005
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Senior Member |
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ll the above plus Neve 1084 plus AMS-R16 (AMAZING REVERB!)
>>
>>i LOVE MY PULSARS !
>>
>>Regards,
>>DImitrios
>>
>>
>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>I thought some of you might find this interesting. I hope this thing
sounds
>>>good. Here is a link to dancetech.com, there is a down loadable video
>demo
>>>of an early version of the Focusrite LiquidMix.
>>>
>>> http://dancetech.com/aa_dt_new/hardware/item.cfm?threadid=39 82&lang=0
>>>
>>>Here is a list of the Liquidmix assets, and a down loadable pdf.
>>>
>>>http://www.focusrite.com/files/Liqui...s_cutsheet.pdf
>>>
>>>
>>>Compressors:
>>>API 2500, Avalon VT737SP, BSS DPR402, Chiswick Reach, Drawmer DL221X,
Drawmer
>>>1960, DBX (160S, 165) Empirical Labs Distressor, Fairchild 670, Focusrite
>>>(ISA 130, Green Channel, Red 7), Manley (Slam, Stereo Variable Mu), Joe
>>Meek
>>>SC2, Millenia STT-1, Neve (2254, 33609, VR), Pye 84 4060/01, Smart C2,
>SSL
>>>(FX G384, SL4000 G+, SL510), Summit (DCL-200, TLA-100A), Teletronix/UA/Urei
>>>(LA-2A, 1176LN, LA-3A, LA-4), TL Audio C-1, Tube Tech (CL-1B, LCA 2B)
>>>
>>>EQ's:
>>>Neve (1073, 1058), API (550b, 559, 550a), Pultec (EQ1-P, MEQ-5, EQH-2),
>>Focusrite
>>>(Platinum Voice Master, ISA 115, Platinum Bass Factory), Avalon (VT 747SP,
>>>VT 737SP, 2055), EAR 822Q, SSL (E, G), Manley Massive Passive, Amek Angela,
>>>Chandler Limited EMI Passive TG Abbey Road
>>>
>>>Some of the compressors have more than one emulation (like the API 2500
>>is
>>>there in both Old/Normal/Hard and Old/Normal/Soft settings). And the library
>>>of both will be added to in the future.
>>
>http://www.codemicro.c
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| Re: Urgent, need advice on one clip. [message #68279 is a reply to message #68277] |
Mon, 15 May 2006 14:06 |
cujo
Messages: 285
Registered: July 2005
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Senior Member |
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h, I get these patches where it just falls into place for
a bit and I get like 50 notes correct in a row, just flying through them.
Over the last week I've really tried to speed up my response time and just
go with my gut feeling, and I'm finding it's working more and more. The instant
response brought my score down a lot when I started, but it's back up again,
and I'm quite happy with my progress.
Of course, there's plenty of relative pitch in my 95% figures contributing
to them, and sometimes the program plays the same note twice or even more
in a row, or an octave, or a semitone, or some other simple interval, so
on sheer "instant response pitch guessing without relative or other assistance"
my score wouldn't be that high, but at the same time I'm confident I'm getting
the hang of it. Often my relative pitch is thrown and I don't know what it
is, yet my gut feel gets it right mostly.
I've been reading all over the net for clues as to what to look for, and
whether indeed it is possible to develop it. There's certainly a lot of controversy
around the topic. Many claim it can't be learned, that you must be born with
it, some of whom have tried out one course or another, but flying in the
face of this are a few examples of people who claim to have developed it
late in life, or know people who have. I'm finding little evidence of people
who devloped it from any course however, so I'm just battling through with
lots of testing myself, and using my own methods to try and train my ear,
based on what I'm hearing is the experience of those who have the ability,
and I think I'm starting to hear something.
I've had a few good experiences over the past couple of days which have given
me hope. The first was that somehow Abba's Waterloo got stuck in my head
(no, that didn't give me hope) and upon slowing it down in my head an listening
to the notes I guessed the two notes of "Waterloo" were B and A. Followed
the rest of the melody "Couldn't escape if I wanted to" down past G to F#
and back to G and went "Yep, that's it. That's definately it". Checked later
and sure enough I was dead on.
I had another experience today where I heard another song in D which I also
worked out, and heard two tunes on the way back home in the car which I sensed
were in A, and could hear the notes of the riff. When I got near a keyboard
I checked and sure enough was bang on.
For a long while I've been able to work out keys by using other songs as
reference points... imagining a known song and getting a note out of that,
and comparing. Now I'm finding however that the notes just come to me...
that I can hear the quality of the note, and know what note it is. It's
a different thing. I'm remembering the notes, and differentiating between
them. It's only a vague sense at this stage, but it's there, and it's
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| Re: Urgent, need advice on one clip. [message #68281 is a reply to message #68273] |
Mon, 15 May 2006 15:49 |
Miguel Vigil [1]
Messages: 258
Registered: July 2005
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Senior Member |
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my
>primary master.
>
>However, when the drive is on the secondary IDE cable the third partition
>is messed up. In the disk partitioning program it says that the partition
>is a FAT 16 partition (it's not), and in Win98SE I can't see the third partition
>at all. I checked the drive on another Win98SE system (also old, Iwill
XP333
>with a Athlon 1800+) and couldn't see the third partition there either.
>
>Any ideas what's up? I should be able to see all three partitions in Win98SE,
>correct? Is it the fact that the boards are so old? Could it be a problem
>with the drive?
>
>Thanks for any help.
>
>Rich KelleyDimitrios mentioned being able to do it on a Native submix,
I checked it out, and sure enough it is there, but I get no sound.Having
never used the native submix feature I am sure I am doing somehting wrong.
This would be great for say UAD plate 140!
"John" <no@no.com> wrote:
>
>How can you get a VST on an aux? Mine just shows EDS.
>
>"Cujo" <chris@applemanstudio.com> wrote:
>>
>>These are zero latency?
>>
>>Hey D, I tried your native submix idea, using VST on auxes ther, they showed
>>up, but no sound, what am I doing wrong?
>>
>>
>>
>>
>>"Neil" <OIUOIU@OIU.com> wrote:
>>>
>>>"Dimitrios" <musurgio@otenet.gr> wrote:
>>&
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| Re: Urgent, need advice on one clip. [message #68309 is a reply to message #68306] |
Tue, 16 May 2006 13:49 |
Miguel Vigil [1]
Messages: 258
Registered: July 2005
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Senior Member |
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away on this little app, doing maybe an hour a day
> spread
> out, hearing notes, guessing notes, pressing notes... getting about 95%
> correct most of the time, though I'm still not using the full chromatic
> scale,
> which brings me down to about 85%. I'm using C major, or the last couple
> of days D major. And also using Eb minor pentatonic (ie all the black
> notes).
> All in all though, I get these patches where it just falls into place for
> a bit and I get like 50 notes correct in a row, just flying through them.
> Over the last week I've really tried to speed up my response time and just
> go with my gut feeling, and I'm finding it's working more and more. The
> instant
> response brought my score down a lot when I started, but it's back up
> again,
> and I'm quite happy with my progress.
>
> Of course, there's plenty of relative pitch in my 95% figures contributing
> to them, and sometimes the program plays the same note twice or even more
> in a row, or an octave, or a semitone, or some other simple interval, so
> on sheer "instant response pitch guessing without relative or other
> assistance"
> my score wouldn't be that high, but at the same time I'm confident I'm
> getting
> the hang of it. Often my relative pitch is thrown and I don't know what it
> is, yet my gut feel gets it right mostly.
>
> I've been reading all over the net for clues as to what to look for, and
> whether indeed it is possible to develop it. There's certainly a lot of
> controversy
> around the topic. Many claim it can't be learned, that you must be born
> with
> it, some of whom have tried out one course or another, but flying in the
> face of this are a few examples of people who claim to have developed it
> late in life, or know people who have. I'm finding little evidence of
> people
> who devloped it from any course however, so I'm just battling through with
> lots of testing myself, and using my own methods to try and train my ear,
> based on what I'm hearing is the experience of those who have the ability,
> and I think I'm starting to hear something.
>
> I've had a few good experiences over the past couple of days which have
> given
> me hope. The first was that somehow Abba's Waterloo got stuck in my head
> (no, that didn't give me hope) and upon slowing it down in my head an
> listening
> to the notes I guessed the two notes of "Waterloo" were B and A. Followed
> the rest of the melody "Couldn't escape if I wanted to" down past G to F#
> and back to G and went "Yep, that's it. That's definately it". Checked
> later
> and sure enough I was dead on.
>
> I had another experience today where I heard another song in D which I
> also
> worked out, and heard two tunes on the way back home in the car which I
> sensed
> were in A, and could hear the notes of the riff. When I got near a
> keyboard
> I checked and sure enough was bang on.
>
> For a long while I've been able to work out keys by using other songs as
> reference points... imagining a known song and getting a note out of
> that,
> and comparing. Now I'm finding however that the notes just come to me...
> that I can hear the quality of the note, and know what note it is. It's
> a different thing. I'm remembering the notes, and differentiating between
> them. It's only a vague sense at this stage, but it's there, and it's
> enough
> to give me confidence that I should continue.
>
> There is also a lot of controversy, as mentioned by our AA here, about
> whether
> it's a good thing all round to even have perfect pitch at all. My feeling
> on this is that, as a person who (hopefully) develops the skill at a later
> stage in life, long after developing my relative pitch skills, long after
> learning to play, and long after establishing my taste in music, that I'm
> hoping that I can take all the old stuff I have learned with me also. I'm
> hoping that, for example, I will be able to transpose a tune my old way.
> I'm thinking that those born with perfect pitch come to rely on it,
> whereas
> I am unlikely to, as I have learned to do without it already. Hence I am
> picturing that I should be able to use it when appropriate, but basically
> turn it off when I don't need it, or at least ignore it when something is
> off key and just listen "how I used to"... though time will tell if I'm
> right. In any case, I've heard a lot of different stories about such
> things,
> and how differently some possesors of perfect pitch respond to out of key
> parts, transposition, and similar such things. Some have trouble with some
> things and not others. Some seem to have the best of all worlds and simply
> use it when they want, and experience little in the way of negatives. I'm
> hoping, seeing as how I know how to live without it already, that I can be
> one of those who doesn't experience too many negatives from it...
>
> ...assuming I aquire the skill at all.
>
> I really am starting to feel that want to aquire it just so that I can
> explain
> to all the people I've seen post that "It can't be learned" that, in fact,
> it can. I'd like to sort that one out at least.
>
> The point is though, that notes and keys do sound different to me. Some
> are
> more happy, and bright, where others are mellow and soft, and others still
> are, well, kinda rounded. I'm hearing this, and I'm becoming increasingly
> confident that my training is increasing my perception of this.
>
> I'm going to have to do this, because I'll look like a goose if I don't.
> ;o)
>
> Cheers,
> Kim.Others might suggest a better kick/snare in the TD20 but this is the Peart
one for starters.
http://tinyurl.com/gtacu
http://tinyurl.com/ef2fj
Lets see if anyone can get close to the compression, air and slapback that
this has going on. Of course I don't expect miracles but have at it.
Thanks,
JohnI'm already pretty good with all that, for the most part. I mean if a song
is in a normal major or minor key, for the most part I can, given the first
chord, fairly much fudge my way through it first bash, assuming I've heard
the song enough to be able to remember it. I can usually accurately guess
most standard chord changes, and can also deal with most of the typical modifications
to normal keys used in pop songs... say incorporating chords like G major
or D major into a song in E major for example. All that stuff is fairly second
nature, as I learned originally by ear using the Suzuki method. I was working
out songs off the radio at age ten, so I've pretty much got that down, but
I do need a starting key.
The issue is that I'm bored with it all I guess, and I want more new ground
to explore. Anything I already know the sound of, I know the sound of. ;o)
I want to do things that I don't know the sound of, that is unusual, and
for that I'm going to have to do a lot more ear training. I want to master
jazz, and I'd like to be able to just imagine a chord that I want to hear,
and play it... and with jazz that means not just major and minor and the
odd seventh or sixth, but 9ths, 11ths, 13ths, diminished, augmented, and
every other variation... and not necessarily chords with simple obvious
relationships to the current chord or key, but often parts that fit
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| Re: Urgent, need advice on one clip. [message #68310 is a reply to message #68309] |
Tue, 16 May 2006 14:07 |
cujo
Messages: 285
Registered: July 2005
|
Senior Member |
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in very
odd ways. This is all stuff I'm not used to. This is all stuff which is hard
for me with just relative pitch, so I'm going to have to do some training
anyhow. I figure it's worth exploring perfect pitch as an option.
The thing is, I figure, there is evidence that you can train perfect pitch,
and if you can, I want it. ;o)
I'm thinking that, while to a degree it would be possible, to train my relative
pitch up to a standard where I can immediately recognise any chord at all
from a given known starting point, that it would be the long road. If there's
a chance of circumventing the process by aquiring perfect pitch, then I'm
willing to do that. The question is how much effort will it take to get the
skills to the point where any sound I hear in my head will be immediately
translated to an actual note.
In any case, the perfect pitch training I'm doing is certainly aiding my
relative pitch skills also. A lot of the note guessing is done using relative
pitch, so I'm kind of killing two birds with one stone. When I'm finished,
my ear will have improved in both relative pitch and perfect pitch, so that's
got to be a good thing. If all I acheive is the ability to pick any interval,
first guess, every time, using relative pitch, even intervals of several
octaves, well, that will be a significant improvement, but if I can aquire
perfect pitch, all the better.
Cheers,
Kim.
"Sarah" <sarahjane@sarahtonin.com> wrote:
>Kim,
>
> Personally, I don't want perfect pitch. However, the ability to
>identify intervals and chords by ear is something that has been very useful
>to me both in learning, teaching, and performing. I don't know if you can
>learn "perfect pitch" or not, but I have taught many students to identify
>intervals and chords, so I know "relative pitch" can be learned. I tried
to
>get my students to the point where I could play and name a chord for them
>and then have them identify the chords that followed just by listening.
>Some got there and some didn't, but all made some progress.
>
>Good luck,
>
>Sarah
>www.sarahtonin.com/wayward.htm
>
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:448feeb1$1@linux...
>>
>>
>> Well, I'm slugging away on this little app, doing maybe an hour a day
>> spread
>> out, hearing notes, guessing notes, pressing notes... getting about 95%
>> correct most of the time, though I'm still not using the full chromatic
>> scale,
>> which brings me down to about 85%. I'm using C major, or the last couple
>> of days D major. And also using Eb minor pentatonic (ie all the black
>> notes).
>> All in all though, I get these patches where it just falls into place
for
>> a bit and I get like 50 notes correct in a row, just flying through them.
>> Over the last week I've really tried to speed up my response time and
just
>> go with my gut feeling, and I'm finding it's working more and more. The
>> instant
>> response brought my score down a lot when I started, but it's back up
>> again,
>> and I'm quite happy with my progress.
>>
>> Of course, there's plenty of relative pitch in my 95% figures contributing
>> to them, and sometimes the program plays the same note twice or even more
>> in a row, or an octave, or a semitone, or some other simple interval,
so
>> on sheer "instant response pitch guessing without relative or other
>> assistance"
>> my score wouldn't be that high, but at the same time I'm confident I'm
>> getting
>> the hang of it. Often my relative pitch is thrown and I don't know what
it
>> is, yet my gut feel gets it right mostly.
>>
>> I've been reading all over the net for clues as to what to look for, and
>> whether indeed it is possible to develop it. There's certainly a lot of
>> controversy
>> around the topic. Many claim it can't be learned, that you must be born
>> with
>> it, some of whom have tried out one course or another, but flying in the
>> face of this are a few examples of people who claim to have developed
it
>> late in life, or know people who have. I'm finding little evidence of
>> people
>> who devloped it from any course however, so I'm just battling through
with
>> lots of testing myself, and using my own methods to try and train my ear,
>> based on what I'm hearing is the experience of those who have the ability,
>> and I think I'm starting to hear something.
>>
>> I've had a few good experiences over the past couple of days which have
>> given
>> me hope. The first was that somehow Abba's Waterloo got stuck in my head
>> (no, that didn't give me hope) and upon slowing it down in my head an
>> listening
>> to the notes I guessed the two notes of "Waterloo" were B and A. Followed
>> the rest of the melody "Couldn't escape if I wanted to" down past G to
F#
>> and back to G and went "Yep, that's it. That's definately it". Checked
>> later
>> and sure enough I was dead on.
>>
>> I had another experience today where I heard another song in D which I
>> also
>> worked out, and heard two tunes on the way back home in the car which
I
>> sensed
>> were in A, and could hear the notes of the riff. When I got near a
>> keyboard
>> I checked and sure enough was bang on.
>>
>> For a long while I've been able to work out keys by using other songs
as
>> reference points... imagining a known song and getting a note out of
>> that,
>> and comparing. Now I'm finding however that the notes just come to me...
>> that I can hear the quality of the note, and know what note it is. It's
>> a different thing. I'm remembering the notes, and differentiating between
>> them. It's only a vague sense at this stage, but it's there, and it's
>> enough
>> to give me confidence that I should continue.
>>
>> There is also a lot of controversy, as mentioned by our AA here, about
>> whether
>> it's a good thing all round to even have perfect pitch at all. My feeling
>> on this is that, as a person who (hopefully) develops the skill at a later
>> stage in life, long after developing my relative pitch skills, long after
>> learning to play, and long after establishing my taste in music, that
I'm
>> hoping that I can take all the old stuff I have learned with me also.
I'm
>> hoping that, for example, I will be able to transpose a tune my old way.
>> I'm thinking that those born with perfect pitch come to rely on it,
>> whereas
>> I am unlikely to, as I have learned to do without it already. Hence I
am
>> picturing that I should be able to use it when appropriate, but basically
>> turn it off when I don't need it, or at least ignore it when something
is
>> off key and just listen "how I used to"... though time will tell if I'm
>> right. In any case, I've heard a lot of different stories about such
>> things,
>> and how differently some possesors of perfect pitch respond to out of
key
>> parts, transposition, and similar such things. Some have trouble with
some
>> things and not others. Some seem to have the best of all worlds and simply
>> use it when they want, and experience little in the way of negatives.
I'm
>> hoping, seeing as how I know how to live without it already, that I can
be
>> one of those who doesn't experience too many negatives from it...
>>
>> ...assuming I aquire the skill at all.
>>
>> I really am starting to feel that want to aquire it just so that I can
>> explain
>> to all the people I've seen post that "It can't be learned" that,
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| Re: Urgent, need advice on one clip. [message #68317 is a reply to message #68305] |
Tue, 16 May 2006 15:42 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
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target="_blank">http://tinyurl.com/gtacu
> http://tinyurl.com/ef2fj
>
> Lets see if anyone can get close to the compression, air and slapback that
> this has going on. Of course I don't expect miracles but have at it.
>
> Thanks,
> John
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlI too have been working with paris for about 7 years and don't know jack.
Even learning how the aux can be stereo was new to me and I have read the
manual in its entirety multiple times and continue to dink around in Paris.
It's truly an amazing app.
John
"jp" <jpj@jpjones.net> wrote:
>
>john--
>once again, thanks
>i'm a slow learner i guess
>even though i've been working with paris for 7 years or so...
>cheers,
>jp
>
>"John" <no@no.com> wrote:
>>
>>Your global effects were in PARIS_FX.VAR. If you overwrote this file without
>>backing them up they are gone. If you have them in project files and not
>>in global effects you can then just add them back into global by opening
>>one project at a time and pushing them into the global area. Then backup
>>the file PARIS_FX.VAR.
>>
>>The default is just a backup of the original paris presets before we add
>>any.
>>John
>>
>>"jp" <jpj@jpjones.net> wrote:
>>>
>>>John,
>>>thanks for the explanation...
>>>
>>>am i correct in thinking that i can rename
>>>my PARIS_FX.VAR(default) to read PARIS_FX.VAR and
>>>use that to replace my current PARIS_FX.VAR file and
>>>find the librtary of missing FX? do i need to
>>>do something particular to avoid losing my own presets?
>>>
>>>thanks again,
>>>jp
>>>
>>>"John" <no@no.com> wrote:
>>>>
>>>>Globals are in PARIS_FX.VAR. If you have them in the projects you
can
>>>load
>>>>the project and move them to globals.
>>>>
>>>>LIBRARY presets are saved in the PARIS_FX.VAR file
>>>> in C:\Program Files\Paris3 (your Paris root dir).
>>>>
>>>>PARIS_Fx.var (Default) is a backup of the file
>>>> PARIS_Fx.var that gets modified when you make library presets.
>>>>
>>>>"jp" <jpj@jpjones.net> wrote:
>>>>>
>>>>>HI all--
>>>>>somehow I lost my library of effects when reloading paris--
>>>>>don't ask me what i did-- moved something somwhere where
>>>>>i couldn't retrive it i guess--
>>>>>how do i get my library of FX back into my system and still retain my
>>presets(which
>>>>>remain in the projects themselves)?
>>>>>thanks
>>>>>jp
>>>>
>>>
>>
>See, that's where your refined ear can hear that through the verbs and compression.
I'll redo them and go for a smaller kick and bigger snare. By bigger you
don't mean verb right? You mean the physical size.
"Aaron Allen" <nospam@not_here.dude> wrote:
>The tones aren't close enough for a compressor to react the same way. The
>snare is too small and the kick is too big on the low end.
>No compressor is going to fix that.
>
>AA
>
>
>"John" <no@no.com> wrote in message news:4490ac7d$1@linux...
>>
>> Others might suggest a better kick/snare in the TD20 but this is the Peart
>> one for starters.
>>
>> http://tinyurl.com/gtacu
>> http://tinyurl.com/ef2fj
>>
>> Lets see if anyone can get close to the compression, air and slapback
that
>> this has going on. Of course I don't expect miracles but have at it.
>>
>> Thanks,
>> John
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
>Yes, I mean that it needs more wood/body sound.. a bigger and/or deeper
shell might get you there, perhaps mic techinique/type parameters... verb is
not going to help with this sound issue. Tuning the pitch might also help,
but I've found mostly it hurts other areas too much. You may also be able to
stack samples? Dunno, don't have a V kit here. If you do stack, make sure
that the sample 'hits' at the exact same time or risk phase holes.
The best way to think of it is that what you start out with should be as
close as possible w/o any processing to what you want for an end result.
AA
"John" <no@no.com> wrote in message news:44913e22$1@linux...
>
> See, that's where your refined ear can hear that through the verbs and
> compression.
> I'll redo them and go for a smaller kick and bigger snare. By bigger you
> don't mean verb right? You mean the physical size.
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>The tones aren't close enough for a compressor to react the same way. The
>
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