PlanetZ forums - scopeusers.com

Here's an explanation of why I use Soniccore for my B3 emulation.

The B3 is a realtime instrument that is extremely difficult to emulate.
One must have total control in realtime without zippers, of the various
sound elements, and knowledge of it's working parts.

MIDI CC Controls........
For control I use 5 x of Mehdis' CC2x2 MIDI devices.
On a real B3 an entire hand is used to move the drawbars, and each drawbar has
different starting points and targets. CC2x2's handle this, and better yet, I can
have as many controls as I want all attached to an expression pedal. By using
Lag times I can push the expression pedal in one fast move and the CC2x2's move
to thier destinations at the exact time I want. Just pull the pedal back in the same
quick manner, and the settings go back to their original starting points.
This is how I have control over the dynamics exactly the way I want.

Authentic Overdiven Tube Pre Amp................
On a real Hammond, when your increase the volume you are overdriving the
pre amp so more volume also adds the extra overdrive.
Sadly virtual B3's dont address this, and most developers are also unaware
of this or we would have seen a feature providing this.
No biggie using Scope. I simply make the extra overdrive effect using Modular,
2 x Pulsifiers and 2 x 12AX& Tube Modules. Pulling back on the expression pedal
gives me collapsed drawbars and less overdrive. Pushing forward on the expression
swells the drawbars and adds extra overdrive.

Crossover Frequency Of The Rotary Cabinet......
I use a chosen Crossover point so the Low Frequencies do not get Reverb. This is
how it's done with the Leslie 122/147's Spring Reverb. So the horn gets any
frequencies above the Crossover point with the Spring Reverb, and the lows get
the lower Rotary baffle without Reverb.

All other virtual B3's are pretty weak and generic. But they do have a picture of
the real Hammond usually which can make one feel as though he actually is playing one,
but those Dogs Don't Hunt.

Excellant...this is what we need, its uploaded. Good coz it is underpinned by real world references......

I will make a quickie stereo mp3 as soon as I get creative again.

K lookin fwd to that ...

Also 12AX& = 12AX7 ?

Here's the XITE-1. Johnny R is leaning on it and it holds his immense weight up.
From being up all night in these dark rooms the photos make us look drunk, but we are just fatigued.
Solaris will be a gem here as this is my gig for a while.
Production starts Monday..........maybe, just maybe by the 3rd week of August I will have it.
I can guarantee that FAT BASTARD wil sound unGodly through the SSL4000G and the Manley mastering room. Ampex 2" tape.....Ankyu.
The SSL is 16 feet long !!!
You can see the Lexicon 480L, and othe various hardware stacked up 8 feet high.
There are 8 similar stacks with Chandler and Neve, API and Avalon.
I have never seen so much incredible hardware in my life, I am in Heaven and so is the XITE-1.

Hey you there in heaven - or anyone - how bout someone sending me a pic of XITE-1 in a live venue - something like a sexy night club to show how sexy that bit of gear is - or even a rock & roll gig with a rider sitting on top of it.

I mean , does this unit take some punishment or what ?

I just thought of something else while researching the SpaceF Modular mixer. This business of recording a band live and being able to send each musician thier own mix.

How many times does it happen that the lead vocalist or lead guitarist wants to hear themselves louder, or the bass player wants to hear the kick drum louder for timing ?

Scope + Modular mixer to me seems a huge advantage for a live recording scenario, covered by no other DSP platform ( certainly no other DAW product for sure ). I would have thought only the bigger hardware setups would have this capability. Therefore we're back to this notion of XITE-1 being closer to hardware than anything else.

Am I right ( is this a feature worth selling ) ? Has anyone used this combo with success ?

dante wrote:I just thought of something else while researching the SpaceF Modular mixer. This business of recording a band live and being able to send each musician thier own mix.

How many times does it happen that the lead vocalist or lead guitarist wants to hear themselves louder, or the bass player wants to hear the kick drum louder for timing ?

Scope + Modular mixer to me seems a huge advantage for a live recording scenario, covered by no other DSP platform ( certainly no other DAW product for sure ). I would have thought only the bigger hardware setups would have this capability. Therefore we're back to this notion of XITE-1 being closer to hardware than anything else.

Am I right ( is this a feature worth selling ) ? Has anyone used this combo with success ?

It's a sellable feature since it theoretically alleviates having to do splitting and external mixers, and headphone amps don't cover the DISTINCT sending of each players own feed.

For that matter it's also sellable having MULTIPLE dedicated submixers for such as drums, guitar, keys, etc. without having to use a ton of extra aux/sub sends on the FOH mixer.

Greg

Also, since Spacef modular mixer accepts CCs over all 16 MIDI channels, I can imagine a scenario where you have 6 musicians, map channel change to each of six buttons at top of BCR2000. Lead guitarist yells 'TURN ME UP MATE' . You hit the Lead Guitar button on BCR then turn up the Lead Guitar channel.

You got control over any musician's level of any channel on one small portable device with max 2 actions.

I gotta try this out

So if you have more than 6 musicians, you simply add MB4 for more right ? Then also the flexibility that some musicians may want the drums turned up or down as a group whereas the drummer himself will ask for individual tom, snare or kick levels. Each with own effects ( lead vocalist may want more or less foldback reverb without affecting anyone else's mix ).

All this without affecting the dry record levels.

Basically what we have is A16 + XITE + BCR/BCF + MODULAR MIXER + Multitrack Recorder s/ware with full capabilities of mixing and recording a live show (with multiple foldback mixes and a FOH mix) for under $10K in a napsack which otherwise on a trad h'ware setup might cost upwards of more like $100K and need a full roady crew ?