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roberth909 wrote:All I want is for the crowded sound of the digital mix bus to be addressed, all the rest is a bonus.

Yes, I have no idea what you mean, can you explain?

Cheers

Stephen

Maybe Mr. 909 can help us out here and post a little sample of this crowded bus? Perhaps a few folks here might have some observations about why you can't seem to find a comfortable seat...

I know what you mean. But it probably has more to do with everything having to be "phatt", dozens of tracks and infinite bounces, compared to a time when the tracks were comparatively thin, and you were lucky to get eight of them, 2 bounces max, and an echo. It happens to me when a composer records his rhythm guitar part four times and insists they all appear in the mix along with the doubled bass, piano, organ and string section. (I forgot the horns)

bayswater wrote:It happens to me when a composer records his rhythm guitar part four times and insists they all appear in the mix along with the doubled bass, piano, organ and string section. (I forgot the horns)

And this is precisely where the craft of composing and arranging comes in. I always come back to Brahms when he was asked how he decides which notes to use in his works.

His answer (to paraphrase): What's important is the notes I leave out.

roberth909 wrote:All I want is for the crowded sound of the digital mix bus to be addressed, all the rest is a bonus.

This is a rhetorical comment.

If your sound is "crowded" then there is something wrong with your mix, not
the digital mix bus.

MIDI Life Crisis wrote:

bayswater wrote:It happens to me when a composer records his rhythm guitar part four times and insists they all appear in the mix along with the doubled bass, piano, organ and string section. (I forgot the horns)

And this is precisely where the craft of composing and arranging comes in. I always come back to Brahms when he was asked how he decides which notes to use in his works.

His answer (to paraphrase): What's important is the notes I leave out.

The other lesson is the benefits of different people doing different parts of the overall process. It can be very difficult to leave out notes you spent months on, but pretty simple for someone who's hearing them for the first time.

David Polich wrote:

roberth909 wrote:All I want is for the crowded sound of the digital mix bus to be addressed, all the rest is a bonus.

This is a rhetorical comment.

If your sound is "crowded" then there is something wrong with your mix, not
the digital mix bus.

Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.

~ Shakespeare

Quotation from Julius Caesar (1.2.135)

MIDI Life Crisis wrote:Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings

Jeez, this is getting heavy for a Saturday night.

bayswater wrote:It can be very difficult to leave out notes you spent months on, but pretty simple for someone who's hearing them for the first time.

Not for me it ain't. I'm not tied to any note that doesn't work. Only the ones that do.

Once you get that mindset, cutting becomes easy. I'll do the same thing with a score I've worked on for weeks. If it stops working, out it goes. Another one is not far behind and with the knowledge of what didn't work, the new score (or version) is born and grows that much faster - at least as far as the work I do.

This is not an unknown process for many artists - of any ilk. Prolific distillation.



"Can't you just feel the moonshine?
And ain't just like a friend of mine, to hit me from behind?
I'm goin' to Carolina in my mind."

~ James Taylor

bayswater wrote:

MIDI Life Crisis wrote:Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings

Jeez, this is getting heavy for a Saturday night.

Depends on your perspective. I love me some Shakespeare - anytime!

Saturday isn't just for drinking anymore, but I wouldn't leave that out either.

Wow, exciting times!

I did scan the thread but is there any word on an IO plugin to allow sample accurate external gear interface? I've popped that into the MOTU suggestion box for years now - well... 6 years.

Regarding the move to Windows... I have observed a theme with beginning (often talented) musicians and beginning recording engineers. They start off use Cubase because it's available on a PC and it has demo and some cheap versions. Eventually they upgrade to Mac (yes... usually it is an upgrade) for stability when they have the cash and they work on the same program they started with in PC - because they are used to it. It's unclear to me whey the upgrade - but I think generally Mac conveys to others that you are serious about your engineering and recording.

I think porting to Windows is great revenue expansion for MOTU and I think will actually end up with - eventually - more Mac users of DP (oddly enough).

CC

Many thanks to James, Kelly and others reporting from the NAMM demo!

I have a question:

I assume that the PC version of DP8 has to support VST. Otherwise, I don't think there would be many converts from the Windows camp.

Was there any mention at all whether that ability has also been carried over to the Mac version?

Best,

Joachim

spitfire31 wrote:Was there any mention at all whether that ability has also been carried over to the Mac version?

I think someone mentioned that the Mac version doesn't support VST, but then I heard Magic Dave reporting in his presentation that the versions of DP are identical. Maybe that is identical feature for feature and not byte for byte. If Plogue Bidule can run VSTs on a Mac, I'm not sure why DP shouldn't be able to.

zed wrote:

spitfire31 wrote:Was there any mention at all whether that ability has also been carried over to the Mac version?

I think someone mentioned that the Mac version doesn't support VST, but then I heard Magic Dave reporting in his presentation that the versions of DP are identical. Maybe that is identical feature for feature and not byte for byte. If Plogue Bidule can run VSTs on a Mac, I'm not sure why DP shouldn't be able to.

Well, they can't be identical to that degree. The PC version won't work with Audio Units. VST in Mac would be nice, but I can't see why it would be a priority.

I have to admit that over the years there have been a few FREE plugins that I wanted to try which were only available in VST format. It maybe shouldn't be a priority, but it would be kind of nice to be able use them.

Why couldn't/wouldn't they create a MOTU plugin that is like a mini convertor that can host a VST plugin and make it work on an insert? You'd think something like that would be fairly straightforward for a programmer who understands the differences between the 2 formats.

And we do have VST folder already. The framework is already built into our Mac setups to house the VSTs alongside the MAS and the AUs.

Perhaps the thought was that if plugins were no longer being made in MAS format that developers supporting Mac would create an AU which would cover it. But, you're right-- there are some VST/VST3 plugins that are not in AU format. It just could be that most of those are bundled with the Steinberg workstations and were never intended to go AU.

But even that underscores the rise and fall of VST Wrapper from AudioEase which effectively ended after DP4, unless I'm mistaken. That was third-party, but I would guess that general demand for VST/VST3 in DP is not as *widespread*, however strong where it exists.