6/24/2023 0 Comments Plogue bidule vs audiomulch![]() So, all of this has to be very stable and be as effective in voice streaming as VEpro. I need the ability to activate and deactivate Kontakt instances remotely (via Midi or OSC). I am referring to load a huge bunch of Kontakt instruments and those samples will easily use up 80% of 128gb of Ram on that PC. Is it worth trying this once more? I am not talking about merely loading some synths or samplers. Now, with the arrival of Max 8, I read there are a quite some enhancements regarding the efficiency of the code. It would, however, still offer a lot of advantages to be able to do this. That is whyI abandoned the idea of hosting the VSTs inside a self built host and kept using VEpro. Secondly, it was not as reliable and caused crashes from time to time. Firstly, playback stressed the computer resources way more than a dedicated VST-host, although I tried to play with the settings. It turned out, however, that the outcome cannot match something like Vienna Ensemble pro. I have a Plogue Bidule setup for converting the H2 surround files to B-format.I have been trying to build a VST-host Standalone app with Max 7. The Tetramic comes with the necessary software a calibration file, so I have a simpler workflow now. My processing of the native B-format microphone assembly included aligning the microphone sensitivities and frequency responses, and I am providing a section with details of how I went about this. ![]() AMB files, and produce, to give to other people, both UHJ-encoded CDs for straightforward stereo playback and DTS-encoded CDs for surround playback on conventional home theatre systems. With this equipment, I can make a B-format recording as. The items marked with * are free, but the others I had to pay for. In addition to the Tetramic software, my main software tools for recording and processing are AudioMulch, Plogue Bidule, WaveLab, VVMic*, and Surcode DTS-CD, together with a number of VST plugins: PPMulator, VVMic VST*, A0 Parametric Equaliser*, and SIR*. This modestly price recorder can record four surround channels from four built-in microphones, and I am experimenting with generating horizontal B-format from the recordings. In no way competing with either of these microphone arrangements, I am also playing with a Zoom H2. The Tetramic is able to be cheap partly because it has no dedicated hardware for processing the capsule outputs and producing B-format signals instead, the capsule outputs are recorded (A-format), and a program (a customised version of VVMic, or a beta of a VST version of the A to B-format processing) is used to generate the B-format signals from them, with the help of the microphone's individual calibration file. I now have a Core Sound Tetramic, which is a cheap alternative to the mics made by Soundfield, but claiming to be as good as them in most respects, and better in some. The hardware I used for recording ambisonics over the first eighteen months was a "native" B-format microphone assembled from AKG Blue Line units (because they were the best I could afford), and a MOTU Traveler interface (in particular, because it has digitally set mic preamp gains). ![]() Some of the details are just ways of working with the tools I have available that are not really multichannel tools. Now that I have recorded a number of concerts ambisonically, I have written down what I do for the benefit or criticism of others as appropriate. I first made an ambisonic recording of a concert in March of 2006.
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