So, on the mackie, run the multi into that and use the effect sends/returns to go to the CC. Or use a TRS insert cable so you can use the mackie faders and such to control the level going to the CC.
By the way, learning how outboard gear works in what setups is a huge thing if you ever plan to play out. It is well worth the time. Like most things, this initial stage of learning will get easier and make more sense as you go. Then you will get fast at identifying sounds in your chain and likely suspects for their occurrence.
Well when I gig my NORD piano and a couple of MODULES etc, all running thru the YAMAHA MG desk and into the pair of MACKIES, it is never really a problem. And recording the NORD piano and ROLAND XV5050 module seems to be fine.
But since trying to record my YAMAHA DX7 and the MOOG (ie vintage) into CUBASE, this is when the problems have arisen. And then compounded with the addition of hardware stomp-boxes! I wonder how well the MINIMOOG might record? That is for a later date . . .
The MACKIES are the SPEAKER’s.
The YAMAHA desk is the MG82CX:
So hopefully it will do all of the above?
Yes. That mixer has a send and master return. Go to the mixer with the multi and put the cc in the aux send and return
Ok, thanks. I will test it over the weekend. Are you thinking this could be a way to ATTENUATE the MOOG pre-MXR?
Spent nearly 2 x hours trying to get a SAXOPHONE sound out of the damn synth tonight!
Yes you will get much finer control using aux return
So get a sound level you like without echo then slowly up the send and return levels
Awesome, fingers crossed!
This thread is only just started getting going. I have TONS of questions on the back burner, believe me!
I very much appreciate all your help.
(Would be great if JMCecil could kindly advise me according here).
I have other questions regarding recording with CUBASE (will be relating to in conjunction with MOOG and DX synths). So they are not relating to the MXR DELAY and similar.
So should I open up an NEW thread? And maybe call it: “Artist 8 Novice Recording Advice Needed” (or words to that effect)? I will still be contributing the this thread on the MXR also.
I will try and test this out when I can this week.
I have been busy trying to deal with other CUBASE and recording issues . . .
I was trying to experiment with creating DELAY FX by recording a MOOG melody into CUBASE, the DUPLICATING it (the audio) using CTR+V, and HARD PANNING each track either side.
Then to create the DELAY, zooming in (CTR+H) into one of the tracks and moving (offsetting) it (to 0.03ms in this example).
Hence, would this be the correct procedure please?
Also, what I am not sure of, mathematically, is that a MILLISECOND is a THOUSANDTH of a SECOND. So how many ZERO’s should there be after decimal point please? In the (above) PNG’s/recordings, it is set at 0.03ms, but people say “300ms”.
So this is how I think it is:
0.03 is 300ms. I think it is actually 3 x CENTI-seconds. So is it correct in that 0.001ms = 10ms and 0.0001 = (1 ms).
Audio demo recording uploaded to PicoSong:
Thickening sounds by duplicating tracks and shifting them a few milliseconds before and after is common (I usually pick the nearest mathematically correct time to 30ms) - although you can get phasing issues using this technique. Just try out the built in delay effects! Also StereoEnhancer has a (single) delay feature - this plugin is included with Artist.
Yes, I will try the built-in CUBASE FX thanks.
So would you say that: “duplicating tracks and shifting them a few milliseconds” is not really a DELAY? Just more a a thickening of the texture?
You’re getting caught up in terminology instead of just trying to achieve a goal. Delaying by a few ms is a delay. That’s exactly what it is. However, until you move it out to slap type sound, the ear will try to perceive it as a single sound hence the “thickening”. You could take the duplicated track and move it 10 seconds down the track and now it won’t sound like a delay because the ear will perceive it as its own source and not part of the original occurrence.
So i think it is like this:
It is all down to the fact of whether or not the ear detects/perceives the two (recorded) tracks as being one composite part, or two discrete instances. Where they are very close, it sounds like the thickened line. If placed too wide apart, they become two separate instances. And when set at an appropriate amount of ms apart, it is than that the realm of DELAY FX is successfully achieved.
[mod edit] Please post your music to the ‘Made with Steinberg’ subforum
Regarding my earlier discussion here on the ARTEFACTS which are, unfortunately being produced using the MULTI MOOG in conjunction with the MXR delay, it was suggested (by a friend) that I try to somehow ATTENUATE the signal either PRE or POST MOOG/MXR (in order to reduce the artefacts).
I tried using my YAMAHA MG MIXING DESK both before and after the MXR signal, though sadly to no avail. It did make some difference, however not enough to reduce the unwanted aliasing to a significant degree.
Anyway, just keeping anyone interested up to date.
I still don’t see why you are so infatuated with using an external delay pedal - the on-board delays built into Cubase will be better in every way - so will most off-the-shelf freebe VSTs. : http://www.pluginboutique.com/categories/10-Delay?free=true The TAL ones in particular have a good rep. The delay given away by Native Instruments last Christmas (Replika) was superb but it’s not available free any more.