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Kaux's Achievements


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  1. Hi craig. I found in a video that APC40´s faders take Live´s faders past unity gain at the top position. I see lots of potential for some samples to clip in that... Do you think that would be a problem? Is there a way to program the APC40´s to be "unity gain" at their top position?
  2. I'll take a brief detour here and answer your question. And I saw George Lewis using Live with two laptops, doing mostly musique concrete-type stuff. Awesome! Check your PMs
  3. Hi craig, great review so far, as always. At some point, i would like to know or take about if you consider live to be a genre specific daw, like those loops genres and so on, or if you think that live is just another daw for any kind of music. IF you do consider live as genre specific, how do you live integrated with someone using pro tools, sonar, o any other daw?
  4. Okay...I don't want to dwell on the controller thing TOO much, because there's a lot more to cover. But I really felt this was a good place to start, just because 1) Live is at its best with a live performance controller, and 2) the APC40 just plain rocks. Besides, the APC40 review I did for the Harmony Central Confidential newsletter is now published. Of course you're all intelligent people so I'm sure you've already subscribed, but if not, click here for the full review, including lots of pretty pictures When i saw the APC40 announced i thought it would be much more expensive than it really is... $399 is not "a little", but i certainly think its a bargain when you consider the door this controller opens to you and your music, isnt it?
  5. On a PC, Keymap mode opens w/ "Cntrl K". Or you can mouse up to where it says "Key" in the upper right-hand corner. Activating Keymap mode highlights everything that can be assigned to the keyboard. Click on the parameter you want to assign, then hit the QWERTY key you want to assign it to and exit Keymap by clicking on the "Key" button or pressing Cntrl K again. As long as you save the Set, that shortcut is saved. Some of the keys are pre-assigned. I think the F1-F8 keys are locked to the tracks 1-8s mute buttons. And several of the letter keys are assigned to the computer MIDI keyboard MIDI (see the little keyboard symbol just to the left of the "Key" button. This very cool little feature allows you to trigger MIDI insturment notes and/or beats with your qwerty keyboard. "A"= middle C, W=C# and etc. Z&X are octave shifts!) The only keys I've got assigned are the numbers 1-8 as track arming buttons, the "/" key runs tap tempo, and "m" turns the metronome on or off. Thanks!
  6. Great! How do you assign QWERY keys? I'll look for it when i download the manual, but in my house i just have 128 Kbps...
  7. can you control faders with one controller and the rest of controls with an apc40? If yes, I guess the problem would be trying to be in the same bank of controls all the time with both controllers right?
  8. Thanks guys... for those of you using more than 44.1... is there any particular reason?
  9. and why? I guess it has been trated to death here, but i am just taking stats to write in my blog....i dont want to discuss what is better, just to know what people is using.
  10. I am right thinking it all depends of the portion you look at right? Because in the horn player example, if i look at just the soft attack section, just before the swell, then for that section the peak is the same as the transient right? Maybe this is too picky but... Lets consider a snare hit... the transient would be the portion from silence to just before the peak? the portion from silence to the peak and back to silence? Just that highest point?
  11. So what do you guys whink about this definitions: Transient A non-repeating waveform, usually of much higher level than the surrounding sounds or average level. Good examples of transients include the attack of many percussion instruments, the "pluck" or attack part of a guitar note, consonants in human speech (i.e. "T"), and so on. Due to their higher-than-average level and fleeting nature, transients are difficult to record and reproduce, eating up precious headroom, and often resulting in overload distortion. Careful use of compression can help tame transients and raise average level, although over-compression will result in a dull, squashed, flat sound to the signal. Peak Generally the highest point. In audio this refers in various ways to the maximum audio signal. A sine wave has two peaks per cycle, which represent the maximum or peak amplitude or voltage (one is maximum in the positive direction while the other is maximum in the negative). Complex musical signals have peaks, which represent the loudest sections or moments. Transients in musical material are also referred to as peaks, though they are really a specific type of peak that has a very short duration of time. On a waveform display such as an oscilloscope audio peaks often look like the peaks of a mountain. Peaking is a word that is sometimes used to describe audio that has gone beyond some specified reference. For example, when the peak LED illuminates on a mixer or recorder the signal can be said to be peaking. This is closely associated with overloading, distortion, and clipping. Those are taken from sweetwater's glossary Would the transient be better defined as a sudden raise in level?
  12. By the way, why are you interested in this? Did I just solve a homework problem for you? No, its because i am writting in my audio blog in spanish. You can see it in my signature. Thanks a lot for your answers too.
  13. The transient isn't necessarily the peak, though often it is. Picture a horn player doing one of those soft attack then swell things. Kind of a little soft burp at the attack.The transient would still be that attack, but the peak most likely would be at the top of the swell. Thanks! It totally clarified it to me...
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