Multiple outputs are more useful live (with a multi setup) then in a studio situation, where I bounce separate sounds anyway:
Multiple outputs are more useful live (with a multi setup) then in a studio situation, where I bounce separate sounds anyway:
- Use an out pair for surround and balance between them and the main pair for each part.
- Send groups of parts through different effects chains.
- Save one part and one out to serve for feedback loop as you loop the out back to the in and send the input based patch you saved, back to the same out.
Those are some suggestions, Flabberbob. I can appreciate that using multiple outs live are more handy than in the studio. What sort of sounds would you separate out in a live situation?
- Use an out pair for surround and balance between them and the main pair for each part
I don't mix in surround, but it sounds like you have a patch that possibly is created specifically for surround. How do you approach that?
- Send groups of parts through different effects chains.
I have never used the Virus as an FX processor, so I am not clear about how this would work. Is it just like a stand-alone reverb unit (excluding a vocoder effect, I mean)?
- Save one part and one out to serve for feedback loop as you loop the out back to the in and send the input based patch you saved, back to the same out.
This configuration sounds really interesting. Could you provide an example?
What sort of sounds would you separate out in a live situation?
I have never used the Virus as an FX processor, so I am not clear about how this would work. Is it just like a stand-alone reverb unit (excluding a vocoder effect, I mean)?
I was talking about running each output through different external effect chains in order to get different compression responses for the bass and the lead for example. The TI is very handy as an external effects processor since each part has its own effects chain, so you select (not more than) one part to use with the input and process it the way you would process raw oscillator sounds. The global effects on older models make things a bit more complicated.
I don't mix in surround, but it sounds like you have a patch that possibly is created specifically for surround. How do you approach that?
That depends on what you are trying to do. Sometimes the surround channels contain only ambiance/incidental noises so I just layer patches for the noises that go exclusively to the surround channels. Sometimes the surround just repeats the main with some delay, so I duplicate the patch and increase the attack time. And sometimes it's just a matter of balance or front/back panning, like in a quadrophonic recording, which is built into the TI, can't say about other models.
This configuration sounds really interesting. Could you provide an example?
It would be some time before I have time to upload anything (really busy) but I can hint that you might need to solder your own splitter balanced cables for this 
It would be some time before I have time to upload anything (really busy) but I can hint that you might need to solder your own splitter balanced cables for this
I would use my RME to patch/loop things around. It's designed to be a splitter/patchbay if need be.
As I believe that splitting in your RME is done via A/D -> memcopy -> D/A, rather then a unit buffer (= voltage follower), you should take some added delay into account, which is not always a bad thing. The best thing would be to get the feedback (and other routing options) within the DSP, a feature I have asked for several times.
As I believe that splitting in your RME is done via A/D -> memcopy -> D/A, rather then a unit buffer (= voltage follower), you should take some added delay into account, which is not always a bad thing.
You may be right, so I looked up the delay in my manual. 
I am perfectly fine with a 4 sample (~90 μs) delay that feeds to effects, not to mention this patchbay has an adjustable gain. 
The manual precedes this information stating that even voltage followers are subject to phasing errors due to delays.
When I use my Virus for an effects processor, the effect will probably be quite gritty intentionally, so these specs are well within working limits for me. Thanks for the idea.
