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NAMM 2014: Bitwig Studio to be launched on March 26, 2014
Old 25th February 2014
  #121
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Old 25th February 2014
  #122
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IF Bitwig can write the code so that if a plugin crashes or locks up it doesnt take down the DAW itself then WHY cant other developers write the code as well??
Old 25th February 2014
  #123
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Quote:
Originally Posted by polybonk View Post
That one function alone is enough to make me interested.
Consign - but every new video just made it worse and worse - I want it bad.
The only thing I wanna know is how it interacts with the outside world - my external synths and dynamics - the main reason for dropping live was this failure of live (for me) and a lot of others - anyone dealing with live kinda has to have either an expert sleepers or innerclock solution. But I can find next to no info on this - i haven't even seen a external instrument type plugin.
Old 25th February 2014
  #124
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polyphonic aftertouch ?
Old 25th February 2014
  #125
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HamHat's Avatar
 

Quote:
Originally Posted by romanski View Post
The automation is done by percentage, been asking Ableton to add that feature in forever. Another new bonus to bitwig.

Any info on "racks" in Bitwig? I love my multiband and dry/wet racks.
Old 26th February 2014
  #126
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Kimotei's Avatar
Quote:
Originally Posted by skycutter View Post
My tunes that come out of live don't sound as good as the ones that come out of logic.. //.. I hate the whole process of bouncing down stems in live and transferring to logic and I don't get on with running rewire.
Well that will not help you much, and I will tell you why. And by the way there really are no audible difference between those two sound engines. But I guess you mean the sound that comes out of a mix? Because then you would be right. The so called muddy Ableton sound is coming from the fact that plugin latency compensation is not supported in sends, and neither on all automation. This has nothing to do with the sound engine, its a latency issue. But it sucks and it does make the sound muddy on larger projects. So what we are hoping for is better latency handling in BitWig.

Before you export tracks from Live make sure to set the sample rate buffer size as low as you can. This will decrease the plugin latency. If you export a track at 1024 samples it might sound like its out of focus and muddy. But exporting it at 128 samples can or will in many cases give a much tighter sound.
Old 26th February 2014
  #127
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HamHat's Avatar
 

Quote:
Originally Posted by Kimotei View Post

Before you export tracks from Live make sure to set the sample rate buffer size as low as you can. This will decrease the plugin latency. If you export a track at 1024 samples it might sound like its out of focus and muddy. But exporting it at 128 samples can or will in many cases give a much tighter sound.
Wow does this happen to a lot of people? I've never noticed this before. Do you have to have a slow computer for this to happen?
Old 27th February 2014
  #128
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barryfell's Avatar
Quote:
Originally Posted by HamHat View Post
Wow does this happen to a lot of people? I've never noticed this before. Do you have to have a slow computer for this to happen?
I'm dubious of this as well. I once heard someone mention this, tested it and it made no difference.
Old 27th February 2014
  #129
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by Kimotei View Post
Well that will not help you much, and I will tell you why. And by the way there really are no audible difference between those two sound engines. But I guess you mean the sound that comes out of a mix? Because then you would be right. The so called muddy Ableton sound is coming from the fact that plugin latency compensation is not supported in sends, and neither on all automation. This has nothing to do with the sound engine, its a latency issue. But it sucks and it does make the sound muddy on larger projects. So what we are hoping for is better latency handling in BitWig.

Before you export tracks from Live make sure to set the sample rate buffer size as low as you can. This will decrease the plugin latency. If you export a track at 1024 samples it might sound like its out of focus and muddy. But exporting it at 128 samples can or will in many cases give a much tighter sound.
I would have thought if the sends are not compensated and you use them in your mixing for parallell stuff you would get smear at any buffer size, just different types of it, no? More obvious at big buffers perhaps, but small buffers wouldn't magically make it disappear, only shorter delay times on the out of phase parts of the signal. Still out of phase though, so still blurry.
Old 27th February 2014
  #130
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barryfell's Avatar
Quote:
Originally Posted by Karloff70 View Post
I would have thought if the sends are not compensated and you use them in your mixing for parallell stuff you would get smear at any buffer size, just different types of it, no? More obvious at big buffers perhaps, but small buffers wouldn't magically make it disappear, only shorter delay times on the out of phase parts of the signal. Still out of phase though, so still blurry.
Indeed. I think a lot of people who use Live don't realise that returns are not compensated in Live if you route them to tracks and not turn their corresponding send off. (To prevent feedback loops)
Old 27th February 2014
  #131
Lives for gear
When you mixdown .. are the sends still affected by latency?!
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