On Sun, Apr 5, 2009 at 3:16 AM, Julien Claassen <julien(a)c-lab.de> wrote:
bonjour Fons!
Merci for this small guided tour. I will try to experiment with the ideas
you gave me. I've already done one "master' of a song using the JAMin setup
put into terms of ecasound. It sounded fine to me - at least at first listen.
I guess viewed graphically or otherwise analysed it might still be hell.
If you're interested, here's the original:
http://juliencoder.de/jazz.ogg
Here's the "master experiment":
http://juliencoder.de/master.ogg
One thing is achieved: loudness and on my monitors the bass has more
presence and another thing it has more brilliance. This master came to be
using the assumptions of the original mail with only minimal tuning.
Kindest regards
Julien
--------
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Julien, are you using a control surface, or have you considered using
one? One of the primary reasons I got one was to take hand-eye
coordination out of my workflow as much as possible, it speeds things
up for me to be able to use my hand's memory of where a slider or knob
or button is rather than have to use my eyes to guide a mouse to a
virtual one on a screen. It only just now occurred to me that you
would probably find a similar, but larger, benefit.
I recommend trying out a control surface, with the most important
ecasound parameters tied to the midi ccs from the sliders. Also, if
you find a surface that does nrpn, this allows much more range for
fine tuning things like filter frequency that benefit from more than
128 discrete values per parameter. You will probably need a friend to
help with setting up the controller, since they usually give all their
feedback through an LED display, but I imagine you would find it
helpful to have one. I have the Behringer bcf2000 which costs $200,
and has motorized faders, allowing a setup where a large number of
parameters are mapped to the surface, and you can switch through
various sets of 8.