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Author Topic: class A goodness...  (Read 2067 times)

peter martin

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class A goodness...
« on: February 23, 2006, 03:32:37 PM »

So I have this dilemma, doing a show of original electronic music compositions ranging from bt/sasha prog, to Vangelis sound scape's.

Right now I'm a solo act, and have things pretty modular running Abelton Live 5 and a custom built Openlabs Miko system for me. I only use very HQ plug-ins, and zero outboard.

Abelton live is the ONLY program that a composer such as my self can perform, think of it as an orchestra for all of you naysayers of anything not rock and roll. BUT, I'm not the most pleased of the mixing engine. Its just not musical enough, even though the parts I'm feeding are nicely balanced, eqed, and harmonically rich...

Just looking for a couple of good options for a live environment for Live, to make the output sound more musical. I feel Abelton kind of puts my sounds a bit through a strainer. If I could do what I do in Abelton and use a better mix enginee trust me I would.

Any suggestions would be greatly appreciated.

pm



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Ronny

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Re: class A goodness...
« Reply #1 on: February 24, 2006, 02:57:31 AM »



Try posting these questions on the Reason In Audio forum, Peter. There's a lot of musician's over there that like to talk about musical DAW programs that can help you out.

Your subject line Class A is a bit misleading, perhaps something like Abelton Alternatives? would get you more hits.  
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cerberus

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Re: class A goodness...
« Reply #2 on: February 24, 2006, 12:04:40 PM »

in the studio, one can rewire live's track to a decent mix engine; e.g. cubase/nuendo. in this configuration, the rewire slave app's audio engine is not active, so each track can be bussed to the host's audio engine. in my experience, this produces excellent results that are audibly different and imo more accurate, even with the host only taking over straight summing vs. stand-alone operation. fader moves usually need to be re-written for the host, but if your faders are not automated, then transferring the settings to the host also can yield an audible benefit (in my experience, confirmed by others). specifically with ableton live and especially with propellerhead reason. (older versions of live could not render at 32 float, the ostensible bit depth of live's dsp engine.. reason still can only render at 24 bit fixed, but also claims the signal is 32 float, rewire is the only way to tap it properly.)

hmmmm.... "reason" in audio;
but then we'd be talking about "consoles" and "tape" perhaps...this thread is called "class a goodness"... well you are totally right ronny...this is not the best forum for learning how to cover up wordlength truncation distortion with class a analog anything.  i think it's the wrong question when there shouldn't be audible wordlength truncation distortion to begin with. (and what else could this problem be?)  presumably it is the music that has innate goodness that needs to be preserved and emphasized, i think we might agree that it's not the best strategy to try to solve distortion by masking it with more distortion if it could instead be cleaned up closer to the source.

jeff dinces

TotalSonic

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Re: class A goodness...
« Reply #3 on: February 24, 2006, 05:46:00 PM »

Ronny wrote on Fri, 24 February 2006 07:57



Your subject line Class A is a bit misleading, perhaps something like Abelton Alternatives? would get you more hits.  



I'll say!  Here I was all ready to post that in some well designed cases that a few IC's in the signal path can still result in a great sounding processor - but guess that will have to wait!

Best regards,
Steve Berson
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