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Comments
I shall call this "Wim's Assertion" of a (++well known) "Sampling Law".
There are 8 permutations in all:
"Does Sampling (a lot)?" + "Has a Mac?" + "Would Obtain Redmatica"
111 = If I do and I do then I would (Wim's Assertion)
110 = If I do and I do NOT then I would NOT
101 = If I do and I do NOT then I would
100 = If I do and I do NOT then I would NOT
011 = If I do NOT and I do then I would
010= If I do NOT and I do then I would NOT (McD's Conclusion)
001 = If I do NOT and I do NOT then I would
000 = If I do NOT and I do NOT then I would NOT
This is my recollection of a TRUTH table from Boolean Logic class.
You may declare any of the remaining 6 for your own branded "Sampling Law".
++ this is how you make meme's.
Awesome job! Captain Fingers for the win!.
Really? I tried to add loop points in AudioLayer's editor and gave up.
I meant, if you set loop points in Auditor, then import that saved sample into AudioLayer, AudioLayer recognizes and uses it.
I’m having difficulty getting click-free results in some samples though, Auditor makes a nice click-free looping region, but sometimes clicks when the playhead continues past the loop end.
I guess the Auditor loop tool is more geared toward making standalone loops than loop regions within a sample.
No question!
And yet another biggie inside the BM3 sampler: Does the button "Disk Streaming" really mean ... erm ... disk streaming??
If so, I wonder why I'm still using AL ... ah, yes, it was the AUv3
Good to know. AL not only has its own loop editor however but also a crossfade function that does work quite well:
That's the compromise with X-fade looping: You gotta crossfade some portion of the audio file. Either you bake-in the crossfade at the beginning of the loop (but then you get an audible transition at the beginning of the sustain loop) or you bake-in the crossfade at the end of the loop but then you naturally get an audible transition when the release portion is played (plus, with a longer sustain loop, you'll want the playhead to immediately play the release part upon releasing the key so it gets even worse).
A positive way to use this effect is to implement release samples this way. Nanostudio has a very nifty feature in that you can use key release velocity to control e.g. oscillator volume. Voilá, the release samples implemented better than in AudioLayer.
Hard to say. Some samples are nothing but a pita to loop, that's why Redmatica had these exotic loop modes that remind more of granular synthesis than traditional loop points.
Haha, Mr. professeur mathématique, would you allow me to add the implementation of 66.6% data reduction by removal of the first two bits?
Professor @McD giving logic classes for musicians would be a great matter to have @Lady_App_titude put her golden hands on
I've almost finished my Rhodes patches but it seems that Obsidian always stores the same samples again with every new patch saved.
Is there an easy way to consolidate these so 5 patches will all use the same samples and if so, anything to take care of when packing them to a ZIP collective?
no in simple way directly in NS... but i have in my mind concept which should work... i'm not at home right now (shopping with wife lol) but later will try it and will
let you know...
Cool, thanks and happy shopping!
PS: It seems to be possible to give a path to the sample name inside the obs XML file, like:
<Zone File="/OSIAP/Instruments/Obsidian/FREE Launch Pack/BassWind.obs/SmoothBass-D1.wav"
although I haven't tried that for user samples.
But there must be a more straightforward way to do it
there isn't straigtforward way... if you save patch, obsidian saves all samples insidide patch
In theory, following concept should work. It takes advantage of fact, that if NS2 founds any samples in zipped package which are not inside patch, it unpacks those samples into
/Library/Audio/Inbox/NameOfZipFile
(It also preserves all subdirectories from zip file)
/Library/Audio/Inbox/RS2K_Rhodes_Samples/nameofsample.wav
In theory (didn't tried it yet), when you now open such ZIP in NS2, NS unpacks it. It places all patches imto Obsidian patch library and all samples into /Libeary/Audio/Inbox/RS2K_Rhodes_Samples
So relative paths saved in patch xml files will match samples location in library.
However, this is a bit risky, because if user deletes samples in library or removes them into different folder, your patches will we dead...
I'm not sure if it is worth that risk.
Another way is to put all samples into one patch, name this patch like "SamplesContainer" and then link samples (again manually by editing XML files) from this patch.
Also here is risk that deleting this one patch will render allmother patches unusable.
I'm afaid that none of alternatove methods is safe enough. Or at least foolproof enough.
@dendy Thank you very much, that's at least some great info to work with.
Another option is maybe to build only one or two patches and use the mod matrix to the max in order to map lots of parameters to the "8 meta controls page", so turning one knob maps to multiple parameters changing in a useful way. You've already mentioned it and I've found that these knobs can even be used as routing modifiers, something I only know from the Waldorf blofeld.
I'll have to work on that because I like to find the very limits of apps
Of Course.
Wim would.
I would not. (Finding an app that's no longer active is an exercise in frustration).
Auto-sampling gets you close but great sample sets are a labor of love... like Salamander, etc.
Update: My red SH-101 now comes with 4 new presets, including funky lead synths.
https://patchstorage.com/sh-101-red-patches/