GigaPulse workflow with Mac

[Peter Brown]

Hi to all,

I've just started using GigaPulse this week, and while the basics seem easy to grasp, I do have a couple of queries:

If I'm sequencing and recording on the Mac, and using GS3/GPulse as an outboard sampler,

1) what is the best workflow?
2) do I still need to set MIDI panning in Cubase? or does GPulse place the resulting audio according to mic placements?
3) Can I record (for instance) all Vln1 instruments thru GigaPulse in Cubase, then Vln2s, then Violas, then Celli? Or will this muddy the stereo?
4) Should I be running a GigaPulse instance per instrument section? Convolution reverb doesn't seem to lend itself to traditional wet/dry or aux send/return methods.

thanks for any and all assistance,

peter

[Peter Brown]

I've been directed to this topic:

http://community.vsl.co.at/viewtopic.php?t=4565

and it's helped quite a bit. BUT...

my previous workflow has been

1) record from Giga (PC) to Cubase (Mac) via ADAT as many stereo tracks as possible
2) Mix in Cubase - do reverb etc on the Mac

my problem now is this:

if I record each instrument separately with reverb (eg Vln1+GPulse, then Vln2+GPulse etc), will the result effectively 'add' the reverbs together in the Mac?

by themselves, the sections wiill sound right in the designated space, but added together, won't the 'empty' spaces on each line pile on top of the others, giving more than the original space?
I mean, for a 48 track mix, there would be 1/48 correct stereo ambience and 47/48 incorrect ambiences running concurrently. Or am I badly wrong?

or can I send audio back into GigaPulse from the Mac? (MOTU2408 on Mac, Dakot/Montana DAT on PC)

I'd love to run a GPulse for each section of instruments, but my CPU won't handle it!

sorry for the long post - as always, thanks in advance...
Peter

[David Govett]

That question was posed to Keith Johnson (who recorded QLSO in a hall) about how those samples ambience tails would build up on top of each other, much like what you ask about here. His response was that this is how the sounds work in real life to some extent. They layer on top of themselves in the real hall so that the end result is still fairly natural. As long as it doesn't get too noisy, I would hope that the same would go for implused halls.
Try it out and see what happens and let us know how you like the sound.
Dave

[Nick Batzdorf]

The reason EWQLSO works is that the level of the instrument determines the level of the ambience - just as it does when it's part of an ensemble. What you're doing with recorded ambience is in effect combining "reverb returns" rather than "sends."

So if you get the individual levels into GigaPulse right, there's no reason it should be any different.

...that is, unless there are some deeper forces at work I'm not thinking of, as there often are in acoustics and especially psychoacoustics...