I have read the manual but I still dont get it... or rather I dont understand. Example:
SISS strings. They are recorded in their correct stero image. How do I place them in a GigaPulse enviroment, maintaining their original placement, but giving it convultion? I read the example in the manual but im lost... so try explain it to me please
The manual mentions [CTRL] clicking all kinds of stuff... multiple mic placements... and thats where I get lost.
So in short... Instrument recorded in stereo image. How do I place it in GP?
Control click a mic on the left, then the left-most seat for your section. Then do it again for the right mic and right-most seat for your section. Now the stereo sample plays in the range from the left to the right seat.
I like to put GigaPulse in a DSP "group". You feed your channel into a DSP Input, and you then route the DSP Input to feed the desired DSP group. You can adjust where your instrument sits between those seats with the DSP Input pan control and you can adjust how wide the section is with the width control. Turn the width down to zero, and you've turned your stereo sample into a mono one. The width control is great when you have a piano sample with a super-wide image, but you want the sound to come from a narrow point on the stage.
Any pointers on how to get multiple instrument placement through one instance of Gigapulse? I know that if I route them all through the same mixing channel they all are put through GP, but I can't for the life of me figure out how to change the mic placement of these instruments. Of course, I don't read manuals, so that's probably my problem.
Seriously, don't try to get very far with GigaPulse until you've read and digested the manual section devoted to it.
The UI is a bit cryptic, mainly because GigaPulse is not just a reverb. So, things that might seem obtuse when setting up "rooms" are actually that way because the UI components have to be somewhat generic to accommodate the different configurations that are possible to develop within the overall GigaPulse scheme.
Depending upon how many instances of GigaPulse you can manage, if you're trying to set up, say, an orchestra soundstage:
1) Figure out how many instances the machine will run
2) Load these into Group Busses
3) Load the same "room" into all instances
4) Using the control-click method, define stereo "zones" using whatever microphone pair(s) you want to hear
5) Route your tracks to the different Groups, according to where you want the instruments to sound.
The presets sometimes involve changes in the delay of each microphone, "perspective" slider, levels, etc. Be sure to reset those when you start constructing rooms, so that you're hearing the selected impulses in a pure form. Otherwise, they might not image where you'd think they should.
Once you've "normalized" everything and set up the zones, then use that as a point of departure to literally "stretch" the room boundaries where you want them to exist.
It is worth taking some time to develop your own GigaPulse template and presets, so that you can define some multi-instance "rooms" that you like, and quickly get to these.
It is a VERY complex plugin, with a very complex learning curve. Hang in there. When you get it under your fingers (especially when you learn how to use the multiple mic sets and delays to get even richer sounds), then you're going to start getting the gist of what makes it such a fine tool.
It's not something you're going to just "get" in a session or two, but that's exactly why it's capable of so much. If it were simple, you'd not be able to do nearly as much with it.
I find GigaPulse a great tool for soundstage development. If you can only load one occurance, you still could make multiple presets, place GigaPulse Pro on a group bus, and record instrument groups one at a time using the appropriate preset. Shouldn't be hard to do once the presets are configured and still produces the same results as using multiple GigaPulses.
On a seperate but related topic, anyone making progress in developing a preset from scratch, using third-party (or a combination of third-party and included GigaPulse) IRs? I tried once, but became confused with selections, paths, and relationship of images, IRs, and mics.
Regarding my oroginal question..let me see if I got this right.
To get convolution, but keepthe samples stereo image intact I need to make a GP instance where I CTRL click on the right mic, and then click the mic pos I want (it then changes color). I then do the same for the left mic and then it works?
I'd recommend just using one overall GigaPulse while you're composing and recording your performance. When you're ready to mix, do multiple passes, just as cunningham suggested. Save each GPulse setup as Bruce suggested, so you can quickly do re-takes as needed, and so the next job is quicker.
Sure, multiple passes isn't as efficient as a one-pass job, but percentage-wise it's not too bad - unless you compose, arrange and perform orchestral music a whole lot faster than I do!
If you can only load one occurance, you still could make multiple presets, place GigaPulse Pro on a group bus, and record instrument groups one at a time using the appropriate preset.
This is the right way to do it, I think, until either CPU's get faster or Tascam releases a "PowerPulseGiga" PCI card that has its own CPU...
The only problem I see is if, after recording each instrument group in an orchestra in what you think is the right place, only to learn that the bass section is too close in the mix and the L/R balance between horns is wrong in relation to the second violins, you are already locked in. The tweakability is nowhere near having the sections running through GP in realtime, where you could play with stereo width adjustment, mic selection, mic perspective, and instrument placement in realtime.
What I was really hoping when I first heard and learned about Gigapulse was the ability to place a number of instruments in the same instance of GP. Something about the screenshots and the descriptions of how the mic placement worked gave me that impression. As I now know, you need an instance of GP for each discrete instrument group if you want to place each on the soundstage. Just my own misconception of how things would work (did anyone else have that impression?)
That was how I apparently incorrectly assumed it would work as well. Now I find out you have to have multiple instances to get multiple instrument placements. Well, that would be great, if I could get multiple instances without problems. Maybe one of these days.