Petrucci
Senior Member
That would be awesome indeed!
Or you know, something like VSL's Mixpresets)
Monolith by Richard Harvey - AIR Studios cinematic drums for just 199 EUR + VAT
- Thread starter OrchestralTools
- Start date
Or you know, something like VSL's Mixpresets)dnblankedelman
Active Member
And this is why I have now formed a real crush on him as a producer of virtual instruments. He did the same with Sangara. His demo video taught me more about the instruments of that region than any other product video I have ever watched.
I think for anything I'm involved with in future I'll probably make the suggestion, yes.
But it's worth noting that most of the time we record (same for Berlin Series stuff), we're trying to get that balance from the gain structure alone, without the need for a 'mix' afterwards. Doing things like Andea and Sangara, my thinking was always to get a good stereo mix with all mics in when recording, and let people make close/far mix decisions later.
But when a library has 10+ mic options and intentional alternative options like multiple trees or multiple surrounds then I think an out of the box mix doesn't apply in the recording session, and it needs some decisions making afterwards.
The good thing with this one is that I'd already mixed Richard's drum album from the same sessions, so it was quite quick and easy to give some advice on a mic mix in SINE.
And John Prestage's engineering is amazing, so any type of mix works well (as always, he knows that room inside out). Worth checking the 'exploring the drums of monolith' video just to get an idea of how many mics are up in the room at once. That's the difference between me and proper engineer!
All 10 mics at once?
David Kudell
Senior Member
All except the surround. The RAM footprint of these are pretty low anyway.
Mr Sakitumi
Active Member
@OrchestralTools well done on this library!
Been playing around and it’s so great to have both mapping approaches.
Would it be possible for the JXL style mapped approach to be able to create a patch with left hand and right hand mappings overlapped?
That way there are at least 2RR per note for that mapping approach.
I hope I’m making sense here.
It could be a happy medium between the live performing and the detailed dynamic range playing (and still avoid the machine gun effect if one hit the same note by mistake)
Been playing around and it’s so great to have both mapping approaches.
Would it be possible for the JXL style mapped approach to be able to create a patch with left hand and right hand mappings overlapped?
That way there are at least 2RR per note for that mapping approach.
I hope I’m making sense here.
It could be a happy medium between the live performing and the detailed dynamic range playing (and still avoid the machine gun effect if one hit the same note by mistake)
@OrchestralTools Any chance you could do a walkthrough of 1-2 of the designed patches to show how the end results were acheived?
babylonwaves
Darth Fader
@David Kudell
There are Close and Vintage Close, Room and Vintage Room. They are the same mic positions; the only difference is the mic used. Why do you use both at the same time?
David Kudell
Senior Member
To me, they sound very different from each other. Close vintage is stereo wide, while close is more center, so to me they sound great together. Room Vintage is more focused, while room is very wide stereo. I tried it both ways and that's what I like. Others probably think that's crazy, but if you didn't know this about me, I'm a rule breaker.
PancakesBear
Active Member
As soon as I filed my tax returns Richard Harvey himself started haunting me in my dreams. Or was it a nightmare?
Heinigoldstein
Senior Member
Well if you load the dame patch twice, put t on the same channel and change the keyboard range, you could do it by yourself I guess !?!
Mr Sakitumi
Active Member
I was more thinking in the lines of 1 mapping layout that triggers each similar velocity note (jxl style) from the left hand & right hand (over same keyboard range) as RR’s
I thought I read @alexlamy say that the right hand and left hand jxl mappings in Monolith are different samples of the same velocity each.
So I thought maybe having both overlapped to alternate RR’s for each velocity going from softest to loudest.
Sometimes when I live jam the 2 mapped out (left hand & right hand) ranges I sometimes hit the same key twice on one hand (which immediately gives it the machine gun effect)
So I’m not aiming to trigger 2 notes at the same time, but one from either mapping.
Hope what I’ve explained makes sense.
Heinigoldstein
Senior Member
I know, what I meant is to customized the key range for the two identical patches. One for the left hand f.e. C0 to G1 and one for the right hand f.e. B2 to F#4. This way you can play the identical keys with both hands (but right two octaves higher) and have the left/right samples triggered that way. (In case they are mapped left, right, left , right). But never mind, maybe I still got you wrong
Mr Sakitumi
Active Member
I think may have confused the approach by complicating my approach.I know, what I meant is to customized the key range for the two identical patches. One for the left hand f.e. C0 to G1 and one for the right hand f.e. B2 to F#4. This way you can play the identical keys with both hands (but right two octaves higher) and have the left/right samples triggered that way. (In case they are mapped left, right, left , right). But never mind, maybe I still got you wrong
Basically the current mapping in Monolith for any instrument mapped out JXL style is to have Left Hand and a Right hand on the keyboard available, each having similar dynamics from lowest to highest.
So if you played LRLRLR on the same dynamic it would have 2 RR’s per dynamic
But if you played LLLL or RRRR you get the machine gun effect.
So I was proposing to @OrchestralTools , seeing as those dynamics are already layed out for both Rt and Lt hands
Why not also have a patch where Lt and Rt are on top of each other with their matched dynamics from soft to loud, but allowing for each dynamic to now have 2 RR’s
hope that makes sense.
babylonwaves
Darth Fader
since I don’t know you in person, I didn’t know that you areI tried it both ways and that's what I like. Others probably think that's crazy, but if you didn't know this about me, I'm a rule breaker.
and thanks for sharing - makes a lot of sense to me
Lee Blaske
Senior Member
Sounds good to me, too. More of a natural, organic sound that would fit well with orchestration rather than a library designed for maximum trailer music slam. I like the way there's some additional detail at the very beginning of each hit.
jcrosby
Senior Member
That was also only using the default mix (tree and spot). Once you enabled all mics it's a huge & lush sound, but one that still has a lot of natural detail... And yeah definitely, all of the drums have a nice pre-transient, for a really full, organic attack.
Hi, i have some questions about this library
1. How many velocity layers are there?
2. is this true that the patches velocity is mapped to the pitch wheel?
i just saw this in a review on youtube, they were saying only the 'alternative mapping' patches are mapped to the keys for velocity
I emailed them a week ago and asked about velocity layers and they replied saying they didnt' know.. can't the person who replied to me just load it up and check. They can send me a free copy and i'll check for them lol
1. How many velocity layers are there?
2. is this true that the patches velocity is mapped to the pitch wheel?
i just saw this in a review on youtube, they were saying only the 'alternative mapping' patches are mapped to the keys for velocity
I emailed them a week ago and asked about velocity layers and they replied saying they didnt' know.. can't the person who replied to me just load it up and check. They can send me a free copy and i'll check for them lol
OP
OP
OrchestralTools
Senior Member
Thanks for your question.
1. There are 20 velocity layers.
2. No - unless we're not understanding your question correctly.
Best,
OT
