1

[Korken]

I read it the other day. Thank you very much for sharing your thoughts, it can help others to decide.

[Korken]

Alban_3 wrote:

Fully agree. How ignorant can you (EZD) be not to include Brazilian Rhythms and Percussion. This is a huge genre of global interest. I love the Latin Percussion pack and the high flexibility provided in the grid editor to trim the grooves to your needs. This is also urgently needed for Brazilian styles. And please do not add any further variants of stuff that is already available like e.g. metal etc.

There is no need to be calling the people “ignorant” in this regard. There is no need, really.

[Korken]

I can confirm I hear the buzz in the attached clip. It is better to raise the volume to spot it better. I still haven’t tried in my own library, though.

1

Thanked by: pumpkinking

[Korken]

Bear-Faced Cow wrote:

That is the reason that recording, mixing and mastering in 24 bit is very recommendable against 16. One can go to 16, but only after the mixing and mastering is done in (preferably) 24 bit, or more.

You don’t mix in 24 bits. You bounce into 24 bit. Almost every modern DAW will use 32 bit float internally for audio channels and 64 bit float buses and output channels for mixing.

jord

• This post was modified 3 months ago by Bear-Faced Cow.

I was referring to the recorded 24 bit audio data, actually. Yes, the DAW do the process in 32 or 64 float.

[Korken]

I recommend this video (and short description) from Ian Shepherd, who shows in a very didactic way that, if done correctly, a song in 8 bit and then in 24 bit will have EXACTLY the same information regarding music (proved with null test) but (very) different noise floor. That is why Jord says “…nothing to do with how loud a recording is, but how clean it is at low volume. 16 bit Audio will distort at lower volume”. But again: if done the right way. That is the reason that recording, mixing and mastering in 24 bit is very recommendable against 16. One can go to 16, but only after the mixing and mastering is done in (preferably) 24 bit, or more.

The truth about bit-depth (and digital audio ‘resolution’)

1

Thanked by: Mark King

[Korken]

I must say I assumed (wrongly) that EZB would allow any chord, similar to EZK. From the videos I watched I didn’t notice this limitation at all and realized it the hard way, when I was creating a bass line. I hope Toontrack add more complex forms of chords in a new version, as this would help a lot for speeding the creation of lines.

[Korken]

Good musical Sunday, then!

[Korken]

I am not sure, but I would think EZKeys 1 y VST2, maybe? In that case you should open the VST manager under Studio and in the window that opens check the option for VST2 at the bottom. I can’t tell the exact option name, as I am not at my Cubase PC right now.

[Korken]

I listened to the song part you posted. It is a good song and your mix sounds great at this stage, except for the drums, I must say. Aside from all you were already told in this thread I can add: I like to give power to the kick too, but I would advice, when you later add the bass guitar, check the balance between bass and kick and check how does the song sound in general with that kick.  Maybe you will need to balance its frequencies and/or it’s volume.

And another thing: at least for me (and I know for many others) it is always better to divide the work in clear stages: after you have your composition and maybe a preproduction stage, where you decide the arrangements and instruments, it comes a recording stage and, only when this recording is ready, a mixing stage where you make your balance and processing decisions over the tracks. I wouldn’t add process to the drum track or any track before the bass is recorded, for example. I even have a rough mixing stage before the actual mixing with processing and this way the starting point is most of the time optimal. But always with all instruments already recorded.

3

Thanked by: Bear-Faced Cow, drumjack52 and Kim Mossige

[Korken]

Right, thank you. That could be a workaround and I will try it. It would be good though, if one could activate an option to avoid the chord change. For example, if in a bar in my song I have a Cmaj7 chord with subdominant function and I just play E-A-F# I don’t want that EZk changes the C to an F#m7 chord. I want my Cmaj7, even if I don’t write the tensions.

[Korken]

Shootie wrote:

Don’t forget to hit the 3/4 filter whether webshop midi or searching you already purchased midi.

wanted to edit it again to say this, but hey, there came flying Shootie himself with his cape.

1

Thanked by: Shootie

[Korken]

I don’t have a pack to recommend, but, as Toontrack products allow to listen to not only midi grooves you own, but also the ones you don’t own, you could do a search to look which ones fit your needs, before purchasing.

Edit:  maybe you know it already, but in case you don’t, I am meaning this:

• This post was modified 4 months, 3 weeks ago by Korken.

1

Thanked by: Shootie

[Korken]

Allow me to add that, well, indeed, I don’t find a text about the need to download and install the Product Manager in the specific web page of SD3. I give that. But under “download configuration” in that page the install procedure, with alternatives, is explained with high detail. I myself followed that when I installed SD3 some months ago.

https://www.toontrack.com/product/superior-drummer-3/

Maybe they simply need to add a line telling about the Product Manager.

1

Thanked by: drumjack52

[Korken]

You probably won’t need to make maps for other kits and libraries if the output from Jamstix is consistent. The only variations you might make are for hi-hats and cymbals. Exceptions may be libraries like the FoR Percussion.

That is right. The basis will be there. The current kit I am mapping has for example three rides and I will need to adapt that when a new kit is mapped. I don’t work in that mapping since two months, so I don’t remember some things at the moment, but I tend to remember that I saw some toms or one tom that was in different order as usual in this kit, so I need to take it into account too.

[Korken]

I understand every one has an own workflow, but it this case, wouldn’t be better to work directly with the grid editor within SD3, even when it is loaded as VSTi in Cubase? All the mapping is already there, even with tons of different articulations. I own myself Cubase, but since I got SD3 a few months ago I realized I will never use the midi editor in Cubase to program SD3, so no mapping needed. I even like better the order in the SD3 grid editor. But again, maybe you have good reasons to prefer working the other way.

What I am doing myself is a mapping between Jamstix 4 and a specific kit in SD3 and if I have good results I will map other kits when I use them in the future. Jamstix doesn’t use all articulations SD3 has to offer, but there is a number of notes to map that are not few. It is doable with a little patience though.

[Author]

Replies