About VST3 ?

[John Ludlow]

P5: "There are subtle cues...If they can't hear themselves...or what they hear displeases them for any reason - that may affect their performance in ways that the audience feels - whether they consciously hear it or not."
C5: I have never been able to put this "subtly" into words...so for this tid-bit....I am truly grateful. From my perspective, this "cue" is "...the proverbial straw that broke the camel's back!" The guitar, especially a nylon-strung guitar, is a very personal instrument. Regardless of how the instrument "plays", if what I am hearing is not what I expect to here, then the entire evening's performance is "lost".

Yeah, some people are affected by that more than others. I'm like you in that respect.

And you're right - quieter music is easier to keep from running amok. The louder it is, the more the room controls it.

Dell, have you considered running your monitor mix to some quality in-ear 'phones'? That way, no matter where you are, your performance always sounds basically the same - particularly with an in-guitar pickup. You're very minimally affected by the room itself. So that portion of the performance equation is handled everywhere you go. Of course, what the audience hears will almost certainly be completely different - and even different depending upon where they are located.

If you ever wanted to prove this to yourself, you could place a couple of mic stands in the audience in different places and use them to record your performance, each to its own track (don't forget to duct-tape the cords down tight). Record what is going to your in-ears too. Then, later, play them back - A-B-C-ing between them - to hear the difference.

The other thing that might do for you is help you adjust FOH to be better out there, rather than only on 'stage'. Single performers who engineer themselves are practically helpless in this respect. But if you play a place more than once, you might be able to zero-in on an at least better sound for them - although it will probably never sound as good as it does in your in-ear monitors. And, with SAC, you can save the FOH EQ version for that place and only use it there.

On the other hand, I guarantee you will hate the revelation that what they hear is nowhere near as good as what you do, and you can only improve it - not resolve it. So, maybe you shouldn't. Plus, what gets recorded will also change depending upon how many people are in the room, where they are while you play, etc. It's not a satisfying situation for obsessive people like us. At some point you just have to go with it and hope for the best.

[mr_es335]

Goran,

My apologies for making this posting go "south".

PS: The employment of umlaut's - apparently, does not play very well with North American platforms.

[Göran Nordberg]

Goran,

My apologies for making this posting go "south".

PS: The employment of umlaut's - apparently, does not play very well with North American platforms.

Well...insider information from real life scenarios regarding recordings is always interesting?
I already got some help, going to look at Metaplugin.

[Dave Labrecque]

Well...I am aware of the sidechain/KEY input in the SAW mixer, but the channel compressor can not handle a live signal as KEY input.

Why do you say that?

[Pedro V]

Goran,

I don't understand. Maybe I don't know what you're trying to do because you know that SawStudio has a Live mode (Press the key (L) or right-click on the Play button.... First you must change the input in a channel of the Mixer so that instead of taking the signal from the Multitrack it takes it from a physical input. Then you can assign that channel in the Compressor of another as a Key.

[Göran Nordberg]

Goran,

I don't understand. Maybe I don't know what you're trying to do because you know that SawStudio has a Live mode (Press the key (L) or right-click on the Play button.... First you must change the input in a channel of the Mixer so that instead of taking the signal from the Multitrack it takes it from a physical input. Then you can assign that channel in the Compressor of another as a Key.

External MIDI-gear triggered from MWS is coming in to SAW as AUDIO signals.

In SAW mixer ch.1 external hardware SYNTH coming in from ADA ch. 25-26.
In SAW mixer ch.2 the KICK external hardware drum machine coming in from ADA ch. 33-34.
Looping 8 bar, synth and drums is playing, sounds good.
Mixerch. 1 in the dynamic module, KEY input from ch. 2 (the KICK).
Nothing happens on ch.1 in the dynamic section Compr./Gate.
Also pressing "Key listen " resulting in complete silence.
Try to do something similar with whatever You have 2 mics or any line in from radio, just something.
Would be nice to hear how it goes for You.

[Pedro V]

It seems you are right, physical inputs do not work like Key.

[Göran Nordberg]

It seems you are right, physical inputs do not work like Key.

Thank You for testing it

[Pedro V]

Thanks to you for discovery.

[cgrafx]

External MIDI-gear triggered from MWS is coming in to SAW as AUDIO signals.

In SAW mixer ch.1 external hardware SYNTH coming in from ADA ch. 25-26.
In SAW mixer ch.2 the KICK external hardware drum machine coming in from ADA ch. 33-34.
Looping 8 bar, synth and drums is playing, sounds good.
Mixerch. 1 in the dynamic module, KEY input from ch. 2 (the KICK).
Nothing happens on ch.1 in the dynamic section Compr./Gate.
Also pressing "Key listen " resulting in complete silence.
Try to do something similar with whatever You have 2 mics or any line in from radio, just something.
Would be nice to hear how it goes for You.

KEY inputs have to come from lower number channels. Everything is processed from left to right (ch1 to ch120). So you would have to switch the channel of the kick to channel one and move the synth to channel two or greater in order for this to work.