Multi-mic routing and volume control (CC7)
- Thread starter JohannesR
- Start date
EvilDragon
KSP Wizard
CC7 is used by default for master instrument volume output (that's the option found in Instrument Options -> Controller -> Accept standard controllers for Volume and Pan. Of course if you route something so that it bypasses this master instrument output, CC7 won't work at all.
You can work around this by loading the same patch multiple times, purge everything except a single mic, and use the audio output selector in instrument header as opposed to the one in the script.
Another workaround is DISABLING the above mentioned option, and adding CC7 modulator to modulate amplifier volume, across all groups.
You can work around this by loading the same patch multiple times, purge everything except a single mic, and use the audio output selector in instrument header as opposed to the one in the script.
Another workaround is DISABLING the above mentioned option, and adding CC7 modulator to modulate amplifier volume, across all groups.
Thanks so much, @EvilDragon.
Re:Loading the same patch multiple times; can this cause problems with RR? Or will the corresponding tree mic sample trigger simultaneously as the ambient mic?
EvilDragon
KSP Wizard
This depends how RR code was written, I suppose.
No help here, but I'm curious - why are you working in quad rather than a more standard surround format? I'm not saying it's wrong or anything, I'm asking seriously!
As an aside, in general I'd say it's a good idea to use unassigned CCs for this kind of thing - for example #s 21 - 33. That will avoid any possibility of confusion.
@Nick Batzdorf
Everything will in fact end up in 5.1, but my VE Pro computer sends quad, just to simplify a little bit and save some resources. I can then route the signals to the center speaker and/or the LFE if need be from my DAW computer. Most of the score happen in L, R, Ls and Rs anyway, so for me sending quad isn’t really a noticeable compromise at all. I just have to be careful balancing the close mics, since they are on the same channels as the tree mics. Mixers who know what they’re doing would want to differentiate the panning between the close and the tree mics a little bit, but for me it’s close enough!
After all, most of the strings, brass and woodwinds will be replaced anyway, and the score will be mixed by someone who is way better than me at this.
Not saying this is the best way, but it works pretty well for me. I’m totally open for other suggestions though!
Everything will in fact end up in 5.1, but my VE Pro computer sends quad, just to simplify a little bit and save some resources. I can then route the signals to the center speaker and/or the LFE if need be from my DAW computer. Most of the score happen in L, R, Ls and Rs anyway, so for me sending quad isn’t really a noticeable compromise at all. I just have to be careful balancing the close mics, since they are on the same channels as the tree mics. Mixers who know what they’re doing would want to differentiate the panning between the close and the tree mics a little bit, but for me it’s close enough!
After all, most of the strings, brass and woodwinds will be replaced anyway, and the score will be mixed by someone who is way better than me at this.
Not saying this is the best way, but it works pretty well for me. I’m totally open for other suggestions though!
Yeah, the center is just to cement the phantom center.
