I am looking to do something similar.. and would love your advice. I use an Akai Force live and I am trying to figure out if it would be possible to send a midi from the Force to a laptop with lightkey and then go to the freedom sticks.. any Tips?
I have one and it's basically close to worthless... any plug in is easily 50 times better. The attack and release look like they do something on VU meter... but you will NEVER hear a difference no matter what you set them at. All the ratios are similar... 20:1, 4:1, all buttons pressed... do they do something different 🤷♂
Great video man, I have freedom sticks too. What mode do you put the sticks into in order to connect to the D-Fi hub? Also what mode do you put your D-Fi hub in?
Please forgive my ineptitude in advance here. Could I program these sticks individually? So for instance a 4/4 pulse sequenced so beat 1 sets far-left stick dimmer only to 100, beat 2 does the same but on middle-right only, followed by middle left and lastly far-right.
Hola amigo no sé cómo sacarás el audio pero supongo que no tendrá nada que ver con el compresor, pero suena un poco saturado y bastante estrecho, el comentario es a modo de recomendación no de crítica gracias de recomendación no de crítica gracias hola amigo no sé cómo sacarás el audio pero supongo que no tendrá nada que ver con el compresor, pero suena un poco saturado y bastante estrecho, el comentario es a modo de recomendación no de crítica gracias😊
Excellent unobtrusive noise reduction, best I have encountered in ten years. Basically (I think) multi-band gating, but shapable by a noise sample and with user-friendly controls so you can finesse the depth and attack etc. No 'undersea' sounds, 'fade to black' or opening up at inappropriate moments. My work is mostly voice-only: nothing to hide background noises!
This is literally exactly what I’m looking to do except for a full band setting. We have freedom sticks and 2 chauvet 4 bar quads. Have you been able to do this with movers too? Or would you be able to control those with the midi keyboard too?
The good news is that this method already applies to your full lighting rig + movers. Your lights will have their own DMX addresses... and as long as you create a LightKey control that maps to the position of the movers, then you can midi map the position of the mover to some knob, and then you can record your movements into ableton all the same. (Basically it would be the equivalent approach as how i mapped the master fader to one of my knobs)
@@us3rreviewsgear19 gotcha. Is the Light Key preset situation not very good? Or more so just for what you were aiming for? Also, do you know if you can do the presets and also manually patch everything? That would be cool.
@@slayathan AFAIK most lighting pros tend to sit down in front of some kind of controller... like either a DMX fader control, or an MPC, or some kind of midi controller. The presets interface on LightKey is just a virtual controller. I setup a full rig of presets just so that no matter where I am, even if i dont have midi controllers handy, I still could assign my presets to lights and have it play back. Also, AFAIK, presets can always be overridden. LightKey has the ability to set color, dimmer, position values independently and just use them as overrides to other presets. This is exactly the approach I took with my colors vs dimmers.
Thanks for the feedback. I dragged in a couple random drum samples just to have something to put through the compressor, next time I'll use Tom Sawyer as the drum sample... ;)
loved this, but the 18I20 is quite a low end converter when you own a near 4k neumann. Antelope audio has good enough converters, or can get an older apogee for a few hundred and they stack up against most anything nowadays. I own a rosetta a/d and it works as well as my antelope and was built in the early 2000s... i also own the wa76 and it is an exceptional piece of gear when used in a nice chain. Thanks for the comparison.
The sound quality is 95% mic (and the person in front of it), and 5% interface. Spending money on a U87 first and keeping the perfectly fine 18i20 is a very reasonable decision.
@@XanderEwald no. Not at all. The preamp used is a huge difference in the sound! I have several of the greats.. UA,Neve, ssl.. also several different of the great mics- and several different good AD converters. I don’t really agree with what you say at all. Doesn’t make any sense to spend all your money one one thing when good sound is adding that extra 5% where it counts. You have a lot of subscribers to be spitting blasphemy like that.
@@XanderEwald but my initial point is… why spend 4k on a microphone and not care for the rest of your audio chain? It’s like putting a golden toilet into a trailer… If you tell me that AD conversion quality, and the analog path therein doesn’t have anything to do with your sound… well, I’d call you mad. I’d say 70/30 personally. - but then it brings me back to my initial question.. why? Seems a bit uneducated or unpracticed to make such oversights.
Very good video.. precisely and clear! I’m wondering if you could run it through an tubed head amp.. Powered tubed head or something like that.. and down to a cabinet as a amp monitor for live shows and also get through the console at the same time!?
Check out the LL2A compressor limiter from Little Labs. I own that one now. It's like 3 compressors in one, and it has mastering fidelity capabilities as one unit as well. It also can switch to be a fast compressor like an 1176, or a slower compressor that's like a Vari Mu.
Dope!!!! I used to own one, but I was stupid and sold it. I should have kept it. Mine was modified by Revive Audio, so I paid a few hundred more for it. I regret selling my WA76.
Hi have mine 2 months, its OUTRAGEOUS!!!! You gave a very good description. You are new here? The Best of Luck! I'll check in every few days! I subscribed. ✌❤
@@us3rreviewsgear19 it's a known issue several have complained about, should be something that can be fixed in the software but they haven't addressed it yet...
Hi! FYI: an all pass filter is not a combination of a resonance peak and a notch. Actually an all pass filter does have not effect whatsoever on the frequency spectrum on the audio of that specific band. In only changes the phase response of that band. A change in the phase response is not audible when you listen to just the band itself, but can only be heard in relation to the dry signal or other filters. It can create comb filtering or phasing effects when combined with other filters or the dry signal.
Nice review, I’m looking to upgrade from a $150 amp and I am looking for one which has different effects and other stuff you don’t get from a regular amp, I’m not going to be gigging just practising, is this the one. or are there any others which are more expensive worth getting?
Honestly, I’ve had expensive amps for professionals and I’ve had things like this. In the more expensive ones, you actually need to supply your own effects usually unless you’re getting a line 6 or something. So if you’re not actually needing more, something like this is fine IMHO
