Post
by Zilch » Tue Mar 20, 2007 1:58 am
Frankly has anyone found the "relative" aspect of the clip envelopes to be really useful as opposed to having all envelopes be absolute?
I can only see a few really useful results of this feature. If one is using the volume envelope within the clip to cut out or attunate sections of the audio but want an overall volume swell programmed into the arrangement or done live via a mapped controller (which upon further thought can just be accomplished by using the clip volume for the attunation and the track volume for the overall swell).
the other function would be doing the same with a filter cutoff type parameter, having a happy little pattern on the clip and opening up the overall filtering via one of the methods above ( which is still really tweaky to get the results you want)
if anyone has figured out any other ways in which it is useful (other than sidestepping the logic/conflict issue between session and arrangement) let me know.
But seriously are these worth the general annoyance that relative modulation causes in nearly every other situation? Any time I want to modulate a parameter (say a VST's filter cuttoff) I have to go in the interface for the unit, turn up the parameter all the way then mess around with the evelopes to reallign my "sweet spot", otherwise I only have the option of closing the thing.
Why not just have a "modulation superiority" switch either on a track or per clip level to decide who gets control in the case of a conflict and ditch "relative" altogether? or regulate "relative" modulation to the special patchable modulation devices (LFO, envelope follower, step sequencer) that were suggested elsewhere in this forum?
while we're at it, lets add the option to "print" modulation (once again suggested elsewhere) where you can highlight a section of a clip (or track in arrangement) change parameters (in the effects own gui, like god intended), and those parameter changes are saved in that section as modulation changes without effecting the values throughout the rest of the clip or clips or track time. So fer instance, you want to drastically change the eq on a guitar track once the chorus kicks it. right now this either involves a retarded amount of non-intuitve, non-musical mucking about with
layer upon layer of breakpoints (lord help you if you want to attempt to do it in the clip with all the "relative" nonsense) or creating a whole new nearly duplicate track (which has to be done by hand for some unknown reason) with a new eq you can set to the new settings in the GUI.
and let me see more than one modulation at a time. color code them or stack them ala Reason or something.
I understand that this would probably involve a lot of reworking of the enigine, but it seems like these are major concerns with the userbase. Granted it doesn't look as sexy to the marketing department as adding video or whatnot, but thats why I support smaller companies.
I know you guys can do it. I've been a pro user since 1.5 and have seen several items on my personal wishlist knocked off with each new release and implemented in an intuitive manner. Take the next big step and get modulation sorted once and for all.
Aaron Zilch
Powerbook 10.4.8
800mhz 512RAM
