Bear-Faced Cow
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Bear-Faced CowFollow the directions in this thread.
https://www.toontrack.com/forums/topic/cant-install-on-catalina/
jord
Bear-Faced CowLooking at Sweetwater’s site, it says the following:
Delivered by download. Our unique partnership with Toontrack delivers your license code within minutes.
By the above, what you’re getting from them is the license code to enter into into the PM and register with Toontrack. Thus, there wouldn’t be a version discrepancy.
jord
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Thanked by: Tom MartiniBear-Faced CowA mono track would be more an indication that it was imported into Logic as mono. However, Logic is smart enough to detect stereo as well as read any metadata attached to the audio.
It is more likely to be a difference in levels, and as stated above, if you haven’t put down any other tracks, you are more than likely bouncing too early.
jord
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Thanked by: ChadwickDunderc0ckBear-Faced CowTo start off, you’re probably bouncing too early. I usually wait until I’m ready to mix.
As far as the bounce itself goes, you need to remember that the plug-in audio will operate at 32-bit floating point within the DAW. That’s an exceptional amount of db range when you consider it. When you bounce, you are usually bouncing to 24-bit fixed. That’s a far less range. While you’re pushing your guitars and stuff at probably higher levels, your drum bounce probably isn’t at that level. Make sure that you are listening to the bounce and the plug-in at the same levels. I’m willing the bet that the plug-in sounds better because it sounds louder.
Something I learned from a lot of mix engineers that I had the the good fortune of meeting growing up is that you should not be mixing (and recording) loud. Aside from the fact that you can damage your hearing, your ear is a human audio compressor. Get things right at a low volume and it will sound great at higher volumes. A lot of people make the mistake that the key is to get it loud from the start. The key to recording is to capture a great performance and a great sound. Also keep in mind that when you are recording your guitars, your guitars will mask certain drum frequencies, thus stealing some of its thunder. This where mixing will come into play. If you are worried about your drums before you record your guitar, your priorities are a bit out of alignment. Get good guitars before worrying about the drum bounce.
jord
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Thanked by: Robert and ChadwickDunderc0ckBear-Faced CowDescribe “weak”. It could be a classic case of having everything else too loud, but I’d rather not assume this. Are you bouncing the main output?
jord
Bear-Faced CowBFD3 groove palettes are not MIDI. The only way to get them into SD3 is to drag the grooves from BFD into SD3, or export a track from BFD and load it into SD3. Either way, they would be saved as user grooves. As to whether they would be searchable, one of the Toontrack officials would have to weigh in. You would also need to make sure that you are using a standard BFD3 key map, so that SD3 will recognize it via MIDI/eDrum settings.
jord
Bear-Faced CowThere are a few directions you can go. I got some neat variations using Metal Foundry using a Sonor Tomas Hakke kit and Pearl Free Floating Brass Snare as well as Metal Machinery using a Tama/Ludwig mix for the kit and the Tama Bell Brass for the snare. Again for both, the kick needed to be stacked, which I used either the “Kick of Death” or “Grunt Kick” with a short decay to shape the transients (plus also comes through on smaller speakers in a mix). I also shaped the snare for little more “bonk” out of it.
It was actually a fun challenge for me. As to how close they are to Danny Carey’s sound, who knows? Someone might think they’re close and others may think they’re as far as the east from the west. One thing’s for sure and that’s it’s inspiring me to fire up a couple of grooves and break out my guitar and chug along to them… might even feel a song coming on.
jord
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Thanked by: ChadwickDunderc0ckBear-Faced CowI get something relatively close in core library with the following:
I found the Amb Near and OH Dyn channels more to my liking for this.
A little reverb and some processing along with some parallel compression and it seemed good to go (for now). I might post it, once I finish tweaking it (I still have some bus processing that I want to do on it)
jord
I get something relatively close in core library with the following:
I found the Amb Near and OH Dyn channels more to my liking for this.
A little reverb and some processing along with some parallel compression and it seemed good to go (for now). I might post it, once I finish tweaking it (I still have some bus processing that I want to do on it)
jord
1
Thanked by: ChadwickDunderc0ckBear-Faced CowWilling to bet it’s having a fill region that contain fractions of a bar rather than whole bars, which is what the main big is about.
Simple workaround for now, until an update is released, is to use complete bars for fills. If your fill is less than a whole bar, chop off a bit of your groove and join it to the fill to create a complete bar. It’s a 2-second process that isn’t really that much of a pain.
jord
Bear-Faced CowIt is probably best to caveat this: if you are using one of the presets that had processing on channel 1/2, you will want to recreate this bus in Logic (disable or remove the plug-ins on SD3’s output channel) and route your bounces into it, as your bounce will probably not sound the same as the original preset. Copying the plug-ins to each output channel won’t achieve the desired result, in case you may have thought that, as you are not treating the mix as a whole. Instead, it would sound unnatural and somewhat disjointed.
jord
Bear-Faced CowI’m not a Reaper user, but based on how I organize my work with Logic, are those tracks contained within the main SD3 track? If so, are you able to put that entire container in a folder?
Obviously something an experienced Reaper user would be able to better address…
jord
Bear-Faced CowI’d chalk that up more to producer prerogative than anything else. While some libraries have a stereo snare bottom, others such as Rock Foundry and Custom & Vintage, may not. However, you might find other mic channels, such as a snare side, in the case of Rock Foundry.
I see all of these more as possibilities and flexibilities more than anything else.
jord
Bear-Faced CowThis is something that you would have to do within your DAW either with multiple versions of SD3, multi-channel outputs and automating the faders or automating a macro within the mix. That’s just a few possibilities.
jord
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