Sorry...but I know this is going to languish in the hardware sec of the forum.
No doubt this has been addressed elsewhere, sometime...
but I\'m curious how people are typically routing/importing giga sounds into their sequencer or mixing software of choice.
I run Logic on a G4 and giga on a dedicated PC. I have a maximum of 16 stereo tracks available (courtesy of Dakota and Frontier cards) for dumping giga\'s output into Logic in a given pass. It\'s an extra step or three that I usually don\'t feel I have time for when I\'m on a deadline.
However, I am really wanting to improve the quality of my mixes. What type of routines/routings etc are typically utilized here by composers for opimizing giga mixes while still working quickly and efficiently?
I\'m experimenting with bringing multiple giga groups into Logic as audio objects. Is anyone here doing that? Are you having latency issues? Or does everyone print giga\'s outputs...and if so, how are you doing it so that it works well for you in terms of time spent and meeting deadlines?
I saw Bruce R\'s post about capturing giga sounds, then sucking them into his mix pc via network. But doesn\'t GS capture one stereo track at a time? That wouldn\'t suit my way of working at all, unless I\'m not getting something (which is more than likely!).
Thanks for the help,
Hi Rob, I\'ll tell you what I do, which is probably exactly what you don\'t want to do. 8^)
I have 8 stereo digital ins to my Spirit 328 mixer, which isn\'t remotely enough. I also have a rather complicated but super flexible system that lets me do analog and or digital routing at many places in my signal chain, and I end up doing submixes in multiple Korg Oasyses, in vst, and in GST, also aux sends and inserts in all these places too.
I really only like mixing at the physical control surface (ie 328), I can\'t imagine getting frequencies and level balance and position right if I can\'t touch knobs and faders, it\'s all so multi-dimentional and inter-related. So my goal is to get good enough submixes that I don\'t have to touch things there, then do a live mix of submixes at the board. This works ok for me because I often burn a lot of channels in a submix since I may have 3 stereo channels just for hats (for example), then the hats become 1 stereo channel at the board.
I freeze things as late as possible, and my final output is always the mixer\'s main output with a live mix and recorded automation. I can edit this automation, but to me this just isn\'t an intuitive route to the best mix.
As for latency, it\'s tedious but I always need to futz track offsets for every track to get things tight, I\'ve never even had a drum kit where the kick lines up with the snare with the hats with the right feel. I need huge numbers of tracks to do what I do (electronic music), this is the only way I know to get everything tight, but it is tight! Here it feels like latency just isn\'t my main problem, or maybe it\'s just one of many, even without latency my instruments just don\'t all hit the same, as long as I have to fix that who cares about latency as long as it doesn\'t interfere with performances?
As for working efficiently or on deadline, that doesn\'t happen here! I have other concerns, usually related to balancing polyphony, processing power, signal paths, etc - every project seems to be constrained differently.
In a perfect world, I\'d have a bigger surface, a lot more straight channel paths, tools that better organized huge amounts of data, and tools that separated musical intent from the control required to generate it... I\'m a long way from that though.
You have 16 stereo channels to mix? Probably not too many people have it better than you already, assuming you have a surface for it. I also have Dakota+Montana, great setup but that\'s my main signal router, I can\'t mix it all straight.