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About Sascha

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  • Birthday 09/05/1971

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  1. Ich hab ja gesagt, dass es Absicht war, zumindest experimentell. Wir hatten schlicht kein UI Control dafür vorgesehen, und der Default-Wert ist ziemlich ungünstig. Zumindest der sollte im Code auf 0 gesetzt werden. Dazu braucht es kein VIP mit Audiobeispiel, es sollte nur beizeiten jemand bei samdev diesen beknackten Default-Wert ändern. Da ich damals alleine für VV verantwortlich war, hat die Möglichkeit der Bitreduktion in den Retro-Algorithmen gar nicht groß die Runde gemacht. Bei bestehenden Presets kann man das auch selber in einem Texteditor erledigen, es sind xml-Dateien: (Preset-Ordner, z.B. C:\ProgramData\MAGIX\Samplitude Pro X3 Suite\MAGIX Plugins\VariVerb\Presets) <param id="num_bits" value="0" /> (Dieser Wert steht normalerweise auf 0.5) Vielleicht kennt ja jemand ein Tool, das sowas per Suchen+Ersetzen im Batch-Job auf allen Presets erledigt?
  2. Dithering hab ich da nicht in Betracht gezogen, es war auch eher experimentell und vor allem im Feedbackpfad des Hallmodells. Jedes zusätzliche Signal erhöht die Gesamtverstärkung und das System wäre nicht mehr stabil, das ist ach schon bei Interpolationsrauschen von modulierenden delay lines sehr tricky.
  3. Mir ist das kürzlich bei einer Albumproduktion selber passiert, ich ich hab versucht mich zu erinnern, was da damals getrieben hab... erst hatte ich die Allpass-Interpolation im Verdacht, aber dann fiel mir ein, dass ich irgendwann mal auf lineare umgestellt hatte (Delay-Modulation via Allpassinterpolation ist bei Chorüssen ok, aber bei Hall wg. der langen Delaylines großer Mist, weil die Koeffizienten zu weit auseinander liegen; irgendwelche anderen Effekte waren damals davon betroffen und ich dachte ich hab's hier verpennt...) Aber dann fiel's mir ein: ich hab da mal - eher testweise - eine Bitreduktion in den Feedbackpfad gebaut, um das Verhalten dem von alten Wandlern anzunähern. Kann sein, dass das standardmäßig auf 12 oder 14 bit steht. Im Plugin gibt es dazu einen versteckten Parameter. Hier ist der Workaround: - Im Plugin-Fenster den GUI-Modus umschalten: Plug-in->Parameterdialog - Parameter 33 auswählen ('Bits'), Wert auf 0% ziehen - Wieder auf Plugin-Dialog wechseln - Ggf. Preset neu abspeichern - Weitersagen! Mea culpa.
  4. That small red dot always belongs to the 'other' channel. You exchange knob & dot by selecting the channel to edit. This is not so intuitive with remote cc, but there was no way around it.
  5. Thanks, @Kraznet. For the UI, credits go to Basti (https://u-he.com/about/team/sebastian.html). A 3ds Max & V-Ray superhuman. He was the one who designed the majority of Samp plugins (AM/VE/Revolta/BB2/Vandal) back in his days at Magix.
  6. Which is still correct when you read it like a Roman: VIVII = 11
  7. Not new, we already released it in Dec. 2014. https://u-he.com/products/presswerk/releasenotes.html
  8. The 'Int:Ext' control balances the incoming source that the detector circuit 'sees'. Turned fully to Int only takes the plugin's own signal into account, while Ext will make it only listen to the sidechain input you select in the plugin dialog's menu of possible external inputs. 'Level' is indeed that simple, it controls the external sidechain volume.
  9. To make that clear, that was neither a port nor a succession of ideas. I hate repeating myself through projects, and it wouldn't do past work and people involved any favour. While I did both plugins' DSP code (and - hehe - Sebastian made both UIs...), the two only share some features like M/S and external SC input, along with a central metering section, where I considered M/S important, and the centrical layout was quite obvious for Basti when we layed out the concept (he even did a 3D model of the virtual 'inside', as can be seen here). But looking more closely probably reveals important differences. Ammo is basically an opto comp in series with a limiter & dual-band saturator, which already is quite a strange combination, while Presswerk is more a compressor construction kit designed to mimic pretty much everything known from the hardware world. PW is more versatile, and its only 'signature sound' comes from the saturation section and optional phase rotator, while Ammo has more flavour right away, but is also more aggressive & up-front. You just can't substitute one for the other.
  10. Magix Music Maker DAW is now FREE!

    Just checked, but not handy at all. Sigh, it's overly crippled, only 8 tracks and doesn't allow 3rd-party VST plugins (not even VST2, unless I'm too dumb). I personally don't have a use for it. But maybe something for my daughter (who regularly uses the Android app).
  11. Oh No Mr. Bill

    Oh, there we have something in common You've been an invaluable outpost for the company, IMO. Sometimes balls & upright attitude might clash in job life, I hope that wasn't the cause of decisions. Anyhow, please keep up contributing and spreading the word.
  12. Vandal Vollversion Aktivierung

    Die SE-Version kannst Du nicht umwandeln, dem Binary fehlen entsprechende Teile der 'großen'. D.h. die Version einfach weghauen (evtl. eigene Presets vorher sichern) und die VST-Variante installieren. Natürlich können beide koexistieren, aber Sinn macht das nicht wirklich.
  13. OT: very impressed with Reaper

    Who's being naive? And about what? Your post makes no sense. Sascha in this case. Oh, I'm perfectly fine with that. Already 43, but still to young to play the old wise man...
  14. OT: very impressed with Reaper

    It might be an all-too-simple pop song, even mediocre in terms of writing and production. But it managed to really touch a lot of people all around the globe, made them dance and - in the purest sense of the song - feel happy. Making people feel great through one's music is - in my view - the biggest reward as a musician, and outshines everything else. Therefore, in this case, mission accomplished.
  15. OT: very impressed with Reaper

    Sorry to say, Seb, but to me that's bold and arrogant. Artistic quality is nothing to argue about in an objective way. It's in the eye of the beholder. You might seem bored or offended from a musically-educated point of view (I'm a rocker, therefore uneducated at best, but hey, so what...), but it's always been like this: music makes people happy, or sad, or whatever... but it does something with people. We choose music we like and what clicks with us. My 9-year old daughter likes bubblegum girl pop, which sounds awful to my ears, but it makes her happy. So what. (Well, she plays piano for 4 years now, has a Russian teacher and knows 'real' music, but apparently can't dance to it with her friends...) As a musician, I'm more than happy that equipment is so cheap to obtain. I grew up with 4-track cassette recorders as the only thing the band could afford to record on. We even didn't have enough mics, so I dissected old radio recorders for their electret mics and taped these to the drum kit and the guitar cabs. When we booked a studio (guessed it: to make 'demo tapes' for clubs to book us...) , I had to gather my last pocket money (40 Deutschmarks or so) to overdub my bass tracks for one (!) hour there. And finally we had to collect again for the guy to do a mixdown, on Tascam's MSR16 and a M-3500 desk, which was nothing to argue about at that time. Results were embarassing, of course, given today's standards. No, I definitely don't want these days back. Were we more talented then, having those technological barriers in front of us? Certainly not. Did those barriers stop the lamers (or the people we hated) from trying to make music? Not a bit. I love recording at home, I'm perfectly fine with that. Of course I'm not that fine with the fact that the guys and me have less opportunities to play live, as clubs vanish or show little interest in getting unknown bands up-stage. But that's a complete different issue, connected to other cultural and social aspects, let alone public or local finances.