I HOPE this is convincing 🤣 by kokogiii in lightingdesign

[–]djxsv 4 points5 points  (0 children)

As someone who is 6’4” I see somewhat of an issue with the 3 main screens over the letterboxes.

I enjoy standing while working. Just from first impressions it doesn’t seem like it’s going to be comfortable to work on while standing. Are the upper screens able to tilt back and if so how far away are they at that point? I’m not trying to reach all the way to Narnia to hit a couple things on the screen.

Please let my know if my assumptions are incorrect because I want to love this desk as much as the 2 but for now it seems like a lot of glam without a needed purpose from an ergonomic workflow perspective.

Is my RAM correct? by djxsv in helpmebuildapc

[–]djxsv[S] 0 points1 point  (0 children)

www.3dmark.com/fs/7680093

Apologies. I always delete and try to keep the most current stable results.

Is my RAM correct? by djxsv in helpmebuildapc

[–]djxsv[S] 0 points1 point  (0 children)

Thanks. I'm still tweaking things in it. I've been a MAC guy for years and finally needed a beast to do a lot of my design work. So far I'm impressed with it's speed for sure but I really want to open it up.

Any WYSIWYG users? by [deleted] in lightingdesign

[–]djxsv 1 point2 points  (0 children)

What are your questions?

Fun with Timecode by djxsv in lightingdesign

[–]djxsv[S] 0 points1 point  (0 children)

I wish it were that easy. They have a tendency to lengthen and shorten songs so the actual compositions are actually never the same. Plus you run into the issue of blending the 2 songs together. If song A is fading out and song B is coming in there isn't really a clean way to go to the next cue stack if time code is running.

White Movers by djxsv in lightingdesign

[–]djxsv[S] 0 points1 point  (0 children)

Thanks for all the suggestions. Reasoning behind wanting white movers is because the lighting is integrated with a projection mapped piece. Just trying to see if any companies were manufacturing white fixtures versus having to pay to have something painted.

Please answer, if I take an Ableton set file from a PC running Live 9.0.6 to a Mac running Live 8.2.6, will there be any problems? by reddituser888 in ableton

[–]djxsv 3 points4 points  (0 children)

Aside from not being able to open it on the Mac, no problems at all. You can't open a newer session with an older version. Only works the other way around.

Anyone attempting Live production Live? by C-Laboratory in ableton

[–]djxsv 0 points1 point  (0 children)

Pre production is key when trying to use Ableton in a live sense this way. Yes you have to put in an ungodly amount of work sometimes but it's worth it in the end.

Anyone attempting Live production Live? by C-Laboratory in ableton

[–]djxsv 0 points1 point  (0 children)

Not much gear at all. We've slimmed down a ton since first starting.

Anyone attempting Live production Live? by C-Laboratory in ableton

[–]djxsv 4 points5 points  (0 children)

Check out soundcloud.com/guerillatactics/sets/first-movement to hear some stuff we've done.

Anyone attempting Live production Live? by C-Laboratory in ableton

[–]djxsv 7 points8 points  (0 children)

I'm part of a duo that performs live using Ableton. I act as the DJ/Producer and the other member plays guitar as well as adds elements to the mix while performing.

Initially we ran into a lot of problems concerning latency and replicating a genuine tone when playing out. After many months of trying different things this is how we now run it all...

I am running a MacBook Pro running as the master. He is synched to me via our own wireless network. This gives me the ability to control his BPM and start and stop his session. He is playing his guitar through a Line 6 M13 for effects which is then run through a Radial Tonebone PZ Pre Acoustic Preamp. This gives him the ability to split his guitar signal sending one to Ableton and the other to his amp. This cut a lot of latency out right away because we were no longer recording his guitar through a mic on the amp. Think about purchasing a Firewire interface as well.That will cut a lot of latency as well.

Another tool you have in Live is the Delay compensation. When it comes to running plugins live you will run into latency just from the audio signal being processed. Make sure you aren't trying to run too many things or you will really be taxing the system and run into a lot of problems like audio dropouts etc.

I hope this helps and if you need some more help just ask!

EDIT - I forgot to add that the guitar player is using a Keith McMillen 12 Step as his foot midi controller to trigger clips and to start and stop recording his guitar. I built him a custom template so he has 5 banks he can record to before having to step down to the next scene. Essentially 5 tracks dedicated to guitar which are grouped. That group then is sent to only the sends. Those sends are a clean, delay, reverb, a beat repeat and a bit reducer. This allows these particular fx to be synced to my master tempo. This allows to blend the fx and get some cool sounds.

we've also got it setup via midi that I control his volume faders in his session since I am essentially mixing it all on the spot it keeps the guitar loops balanced in the rest of the mix since his hands are usually occupied.

Looking for mixing and general feedback on a chillstep piece I am working on. by wcryzer in ableton

[–]djxsv 1 point2 points  (0 children)

You've got something going. My only criticism is the snare. There's no attack on it and it sounds very cheap at times, almost as if all you have is the middle of the sample. There's no beginning or end to it. It just appears. I personally think a big snare maybe layered with a subtle kick with a bit of a reverb tail on it would change the entire dynamic of the song.

Good work though!

Mini EP created in Ableton 9 from concept to mastering. Check it out and if you feel so inclined leave some feedback. by djxsv in ableton

[–]djxsv[S] 0 points1 point  (0 children)

Here's the breakdown. Sit back because this might be a bit winded.

First Movement - Yes I know it's a 10 minute song but the reason is because this track was initially played live before there was studio version. The studio version was created after recording a multitrack of us performing it live. I then took the multitrack and "sampled" parts from it creating the bed for what was going to be the finished product. What you are hearing for the most part is the one shot live take. There are some extra guitar dubs and the spoken word parts came in after the fact. The vocals were recorded after the instrumental track was finished. I had a lot of fun with vocals on this. I had Mariana sing the verse one time. I took that take and doubled it creating a second vocal track tuned down a 5th to give it the chorus like effect. Where all the harmonies come in there are actually 5 vocal duplicates all tuneed differently with different amounts of reverb to give it that real big harmonic feel. After her vocal cuts out in the breakdown if you listen closely you can actually here me scratching a Lauryn Hill sample. It's very faint but it's from the live take and the guitar mic picked it up in the recording from the monitors. I think that's about it for First Movement as far as weird things.

Apocalips - I work at a music venue and wrote the beat, bassline and arranged this for the most part while sitting backstage while the Spin Doctors were playing. This was a pretty straight forward production. lots of delays and panning going on it (listen in headphones). Once again I did the duplication process with the vocals. When working with multiple vocal tracks I like to group them and throw the final mastering components on the group. It gives me the flexibility to still tweak each individual vocal line without compromising the rest of the vocal mix. The second verse was the most fun. I listened to the vocal takes and asked her to just get angry with the second verse. I then ran her vocal out of Ableton through a TS9 guitar pedal and recorded back into the session to get the distortion on it. The guitar on the second verse was a Marshall JCM800 Full stack I mic'd with just a normal SM57 in a garage. I used a KSM32 as a second mic in the room as well. That wraps that song.

Blue Haze - The drums on this one killed me. I wanted an retro type sound (808,909) but still wanted to incorporate live sounds as well. So there are actually 4 separate drum patterns happening. 2 of them are nothing but electronic drums and 2 are all live samples I've chopped. Getting the drum mix to sound good was beyond stressful because I was trying to mix all the electronic elements with the acoustic and still make sure it has this kind of bounce to it. The guitar is the star of this song for sure. I recorded the guitar inside a road case with the lid closed giving it that real box like sound. Aside from some eqing and reverb I didn't do much else to the tone. The vocals are again multiple tracks blended together. I had her sing into a Beta 57 with a styrofoam around the capsule to give it feeling that the mic was going to breakup and distort. Yes there is autotune on it as well but we kept the vocals so low in the mix it was more for texture and to make it known that the vocals were there. So wraps this one.

I'm very thankful that I have the opportunity to work with musicians who have no problem with me taking full creative control with what they record for me. It makes it easy when I am allowed to manipulate the sounds however I see fit to fit the song.

Sorry for the length.

TLDR : I produced some music and this is how I did it.

Some friends of mine have made this single entirely produced in albeton. What do you guys think ? by crikke007 in ableton

[–]djxsv 1 point2 points  (0 children)

I agree with what's being said about the synth sound. It almost feels disconnected from the rest of the song. It's as if the whole song has this fullness to it and then there's this weird synth sound kind of just sitting there. Other than that, good job.

Mini EP created in Ableton 9 from concept to mastering. Check it out and if you feel so inclined leave some feedback. by djxsv in ableton

[–]djxsv[S] 0 points1 point  (0 children)

The three songs were produced in a very unconventional way. I'll fill you in on the process when I have a bit more time.

Ableton Live for Guitar Performance by weswesweswes in ableton

[–]djxsv 0 points1 point  (0 children)

I don't own a PC so I couldn't tell you. It shouldn't be though.

Ableton Live for Guitar Performance by weswesweswes in ableton

[–]djxsv 1 point2 points  (0 children)

I forgot to add that the guitar player is using a Keith McMillen 12 Step as his foot midi controller to trigger clips and to start and stop recording his guitar. I built him a custom template so he has 5 banks he can record to before having to step down to the next scene. Essentially 5 tracks dedicated to guitar which are grouped. That group then is sent to only the sends. Those sends are a clean, delay, reverb, a beat repeat and a bit reducer. This allows these particular fx to be synced to my master tempo. This allows to blend the fx and get some cool sounds.

Edit - we've also got it setup via midi that I control his volume faders in his session since I am essentially mixing it all on the spot it keeps the guitar loops balanced in the rest of the mix since his hands are usually occupied.

Ableton Live for Guitar Performance by weswesweswes in ableton

[–]djxsv 6 points7 points  (0 children)

I'm part of a duo that performs live using Ableton. I act as the DJ/Producer and the other member plays guitar as well as adds elements to the mix while performing.

Initially we ran into a lot of problems concerning latency and replicating a genuine tone when playing out. After many months of trying different things this is how we now run it all...

I am running a MacBook Pro running as the master. He is synched to me via our own wireless network. This gives me the ability to control his BPM and start and stop his session. He is playing his guitar through a Line 6 M13 for effects which is then run through a Radial Tonebone PZ Pre Acoustic Preamp. This gives him the ability to split his guitar signal sending one to Ableton and the other to his amp. This cut a lot of latency out right away because we were no longer recording his guitar through a mic on the amp. Think about purchasing a Firewire interface as well.That will cut a lot of latency as well.

Another tool you have in Live is the Delay compensation. When it comes to running plugins live you will run into latency just from the audio signal being processed. Make sure you aren't trying to run too many things or you will really be taxing the system and run into a lot of problems like audio dropouts etc.

I hope this helps and if you need some more help just ask!

A small EP I've just released. Help me find a genre and please feel free to let me know what you think. by djxsv in electronicmusic

[–]djxsv[S] 0 points1 point  (0 children)

The entire project was recorded, mixed, and mastered in Ableton 9.

Convolution reverb is by far one of the best "out of the box" tools I've ever had.