CW's Analog Source Module
CW's Analog Source Module
Which output is best for the mono out > mono in of my FB5 mixer?
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Mr Arkadin
- Posts: 3280
- Joined: Thu May 24, 2001 4:00 pm
This is because on synths like this the output is 'summed' to the left connector until you insert a patch cable in the right side, at which point it 'breaks' the right channel signal being sent (and summed) to the left and makes it 'stereo' instead of 'mono'.scope4live wrote:Thanks,
I am use to hardware where a certain side is mono omly for correct operation.
I will post my findings.
It's for an analog synth > mono input of SpaceF's FB5 mixer.
Ie, it's just summed and you can do the same thing in Scope when directing a synth's stereo output to a single hardware out (for example).
Brotha' Man Valis,
Thanks 4 your infinite wisdom. I have noticed the difference in sound as I experiment with 2 mono sends to a FAT CS4, or MCCY's Tube EQ. These are both greaty for summing 2 mono sends and have 4 inserts to add as well as the Valve enhancement. When using the ProOne and my hardware analog SE-1x which gets routed by the source module, the way you and GaryB described this was correct.
Thank You and back to Garage I Go.
Thanks 4 your infinite wisdom. I have noticed the difference in sound as I experiment with 2 mono sends to a FAT CS4, or MCCY's Tube EQ. These are both greaty for summing 2 mono sends and have 4 inserts to add as well as the Valve enhancement. When using the ProOne and my hardware analog SE-1x which gets routed by the source module, the way you and GaryB described this was correct.
Thank You and back to Garage I Go.
To sum stereo signals to mono destinations in Scope you can just load a micro mixer, keep it's channels (tracks) as mono, connect the synth or stereo device to inputs 1 and 2 and pan both to left....the same thing you can do with inputs 3 and 4 for another stereo output to be sent as mono, you pan them right ad you go out from the other analog side.... very light on resources with some volume control too.
Thanks Alfonso,
That's a great workaround I was looking 4. I really like Mehdi's mono effects, they are unique. They have no stereo versions. I'm sure he could whip 'em up 4 me if I asked, but I am still experimenting with these and MIDI CC's 4 live use. I can stack 8 of these per channel in his mixer, and use CC's on the bypass / mute to add the color needed for the moment.
I probably sound nutty to many guys here, but SFP allows me to try things that cannot be achieved in hardware, or if achieved, are damn near impossible to pull off live.
His mixer allows to move my sounds around in a stereo field like an audio acrobat. I like movement in a mix, and have the LFO's move the sound from my Barbettas back and forth. One situation I like is a dual portamento glide, where the note ( Center ) goes left to a lower pitch, and right to an upper pitch. 2 glides panning different directions on 2 FAT synths sustaining their glide end points, then get sucked back to the center where the ARP String chord is the finale. I stole this idea from Herbie Hancocks awesome Thrust album. I could never do that live until recently. The example is right after Dr. Bennie Maupin's killer Alto sax solo, and right before Herbie's smokin' Rhodes / synth solos on the song Butterfly.
After buying so many toys, I only recently am pushing the envelope with their possibilities, and a MIDI controlled mixer is crucial for these tricks. My old Yamaha DMP7 w/ a PCM70 routed through it, was ahead of it's time back in '85. But it never could have attempted doing this even fully automated. It did however switch scenes ( projects ) w/ a program change from the QX-1 which gave you new effects, but only 3 automated FX per scene was allowed. I now have literally dozens on the fly.
Those Poor Bastards Who Gravell 4 Free VST's @ KVR-VST Don't Know What They Are Missing, In A Live Performance Battle With My Rig, They Are Literally Unarmed.
That's a great workaround I was looking 4. I really like Mehdi's mono effects, they are unique. They have no stereo versions. I'm sure he could whip 'em up 4 me if I asked, but I am still experimenting with these and MIDI CC's 4 live use. I can stack 8 of these per channel in his mixer, and use CC's on the bypass / mute to add the color needed for the moment.
I probably sound nutty to many guys here, but SFP allows me to try things that cannot be achieved in hardware, or if achieved, are damn near impossible to pull off live.
His mixer allows to move my sounds around in a stereo field like an audio acrobat. I like movement in a mix, and have the LFO's move the sound from my Barbettas back and forth. One situation I like is a dual portamento glide, where the note ( Center ) goes left to a lower pitch, and right to an upper pitch. 2 glides panning different directions on 2 FAT synths sustaining their glide end points, then get sucked back to the center where the ARP String chord is the finale. I stole this idea from Herbie Hancocks awesome Thrust album. I could never do that live until recently. The example is right after Dr. Bennie Maupin's killer Alto sax solo, and right before Herbie's smokin' Rhodes / synth solos on the song Butterfly.
After buying so many toys, I only recently am pushing the envelope with their possibilities, and a MIDI controlled mixer is crucial for these tricks. My old Yamaha DMP7 w/ a PCM70 routed through it, was ahead of it's time back in '85. But it never could have attempted doing this even fully automated. It did however switch scenes ( projects ) w/ a program change from the QX-1 which gave you new effects, but only 3 automated FX per scene was allowed. I now have literally dozens on the fly.
Those Poor Bastards Who Gravell 4 Free VST's @ KVR-VST Don't Know What They Are Missing, In A Live Performance Battle With My Rig, They Are Literally Unarmed.
What is a "Live performance battle?"scope4live wrote: In A Live Performance Battle With My Rig, They Are Literally Unarmed.
The only live performance battles I've witnessed are where the guitar player and the drummer each tries to get louder than the other. Usually the only result is that the audience starts to back away from the stage or leaves.
best,
john
I was reffering to the guys who come to a gig with weak rigs. They are doing what they like for a living, and many here in Las Vegas who make great money, show up with rigs unworthy for battle.
When they hear our soundcheck they usually cower in the shadows as the Scope / GVI DAW beats them unmercifully. Some guys actually show up w/ a Dell computer and a couple of child sized controllers. They are to be punished severely, as their lack of concern for their VSTi rig demonstrates.
Many brag about about how great their rig sounds for 1000 USD. I certainly beg to differ.
I believe that if you are fortunate enough to do what you love for a living, show your love. Stay off the dope and the machines and get some better synths than the freebies that the KVR guys froth over. There are some VSTi's that I have heard that are passable I guess, but when you hear a VSTi rig next to mine, there is simply no contest.
FAT BASTARDS RULE !!
When they hear our soundcheck they usually cower in the shadows as the Scope / GVI DAW beats them unmercifully. Some guys actually show up w/ a Dell computer and a couple of child sized controllers. They are to be punished severely, as their lack of concern for their VSTi rig demonstrates.
Many brag about about how great their rig sounds for 1000 USD. I certainly beg to differ.
I believe that if you are fortunate enough to do what you love for a living, show your love. Stay off the dope and the machines and get some better synths than the freebies that the KVR guys froth over. There are some VSTi's that I have heard that are passable I guess, but when you hear a VSTi rig next to mine, there is simply no contest.
FAT BASTARDS RULE !!
OK, I think I understand now. When I think of doing a live gig, it means I bring the loudspeakers, the amps, the mixer and the effects. And microphones and DIs for the performers. I've been trying to get my Scope system to cooperate, by using a Peavey StudioMix motorized controller and Markus's (digilogue's) StudioMix software to control the 2448 Mixer (the StudioMix software is here in the Devices section). Works about 99% of the time on my computer,and it's great for mixdowns, but 99% is not reliable enough for live sound reinforcement. I'd been wondering how you did it, but it appears we have different definitions of 'live sound.'scope4live wrote:I was reffering to the guys who come to a gig with weak rigs. They are doing what they like for a living, and many here in Las Vegas who make great money, show up with rigs unworthy for battle.
When they hear our soundcheck they usually cower in the shadows as the Scope / GVI DAW beats them unmercifully. Some guys actually show up w/ a Dell computer and a couple of child sized controllers. They are to be punished severely, as their lack of concern for their VSTi rig demonstrates.
To me, a 'weak rig' is one that doesn't have enough clear full-frequency volume to reach the back of the audience at a musically appropriate level (whatever that may be).
best,
john
That's sums it up also.
That Peavey was a fine controller BTW.
I was shocked when the Country & Western company jumped onto MIDI quite strongly.
Lookin' for a good stereo sub? Watch for the Barbetta S. It will be here anyday now. It's great on synths and samplers, but for a compact DJ rig it has no real competition that I am aware of. That would punish most.
I got tired of playing in a band where people were more concerned about how much, and not how good. I orten played at clubs where DJ's would kick the crap out of us with better material, better sound, etc. That was a long time ago. I hve worked in a hybrid DJ synth duo, and really learned the tricks, and applied them to my live rig. I often say to players, are you gonna let that DJ smoke you? Some cowered, some stepped up to the plate. My shit was so FAT w/ Scope that a DJ hired me. Scope will run great once it is set up correctly. That;s why I hired GaryB to fly up here 4 times a year. I learned a lot by watching him and know that Scope is a unique software app, that I will be learning for some time to come.
If I can assist in the MIDI department, drop me a line. When I don't gig, I rehearse like a mad man, and the rig actually works harder as I am pushing it to it's limits constantly. I wouldn't dream of using anything else.
Great Gigs To Ya' Brosky.
That Peavey was a fine controller BTW.
I was shocked when the Country & Western company jumped onto MIDI quite strongly.
Lookin' for a good stereo sub? Watch for the Barbetta S. It will be here anyday now. It's great on synths and samplers, but for a compact DJ rig it has no real competition that I am aware of. That would punish most.
I got tired of playing in a band where people were more concerned about how much, and not how good. I orten played at clubs where DJ's would kick the crap out of us with better material, better sound, etc. That was a long time ago. I hve worked in a hybrid DJ synth duo, and really learned the tricks, and applied them to my live rig. I often say to players, are you gonna let that DJ smoke you? Some cowered, some stepped up to the plate. My shit was so FAT w/ Scope that a DJ hired me. Scope will run great once it is set up correctly. That;s why I hired GaryB to fly up here 4 times a year. I learned a lot by watching him and know that Scope is a unique software app, that I will be learning for some time to come.
If I can assist in the MIDI department, drop me a line. When I don't gig, I rehearse like a mad man, and the rig actually works harder as I am pushing it to it's limits constantly. I wouldn't dream of using anything else.
Great Gigs To Ya' Brosky.
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hubird
Yes. High potential, low achievers also.
All of the above.
I was severly punished by many Pro players when I got my first break.
I was good for my age ( 18 years old ), but for 4 years I opened for guys like Chuck Leavell, Taz DiGreggorio, and Billy Payne to name a few. I had a little Helpenstill Upright, D6, ARP String, Minimoog and a B3 w/ twin Leslie 147's. They had Grand Pianos, and everything under the sun, plus they had superior chops. I was punished for 3 to 4 years nightly. I thank them for the beatings I took. It caused me to woodshed like a lumberjack. These guys I speak of are punished severly, and make no attempt for reconciliation. I will continue to embarrass them until I leave this desert Babylonian mirage.
Funny thing, up in Tahoe where I plan on moving next year, there are many great players and gigs awaiting. I only wish for competition, and continued learning experiences during live performances. And I am even ready for Mr. Monty Alexander this time. I haven't forgotten the beating I took from him a few months back. It was great. It caused me to really practice hard, not just play shit I already am confident about. These beatings are what make players PLAY. We can't excell w/o them.
Live perforomance is the BATTLEFIELD !!
All of the above.
I was severly punished by many Pro players when I got my first break.
I was good for my age ( 18 years old ), but for 4 years I opened for guys like Chuck Leavell, Taz DiGreggorio, and Billy Payne to name a few. I had a little Helpenstill Upright, D6, ARP String, Minimoog and a B3 w/ twin Leslie 147's. They had Grand Pianos, and everything under the sun, plus they had superior chops. I was punished for 3 to 4 years nightly. I thank them for the beatings I took. It caused me to woodshed like a lumberjack. These guys I speak of are punished severly, and make no attempt for reconciliation. I will continue to embarrass them until I leave this desert Babylonian mirage.
Funny thing, up in Tahoe where I plan on moving next year, there are many great players and gigs awaiting. I only wish for competition, and continued learning experiences during live performances. And I am even ready for Mr. Monty Alexander this time. I haven't forgotten the beating I took from him a few months back. It was great. It caused me to really practice hard, not just play shit I already am confident about. These beatings are what make players PLAY. We can't excell w/o them.
Live perforomance is the BATTLEFIELD !!