def sounds like it could be a bug but i imagine it also not being a bug if there are certain limitations in how independent audio files are piped through “new” mixer settings. in any case it does sound like something that could be “fixed” but i could imagine “fix” not being the right word if someone wants their project’s current mixer settings to be maintained rather than overritten for imported/dropped audio.
another thought. could you drop in the same project the one distilled piece of audio which is confirmed to have in tact mixer. then simply lift that one audio track and drop that in to the new project?
edit: i had to move the synth away from my desk before i get fired lol otherwise id try this out myself right now
The merge/drop is not respecting the mixer volumes of the lifted loop. This time one of the elements that was originally panned center got tilted a little to the left after merge.
To recap, with regards to panning and volume I can verify that the new merge/drop feature is only working if used within the same project. Trying to Shift+lift Shift+drop into a different project, even on the same tape type really doesn’t work.
I hope it’s a bug rather than a limitation. I reported it to TE, I wish I had done all this testing before I did that.
Also, yes your idea for a work-around is the thing to do. So if there is room on the project tape merge/drop is still easier than bouncing to the album etc.
One last thought is that the feature is really only meant to be an easier way to bounce and continue working on a single project, and it will be useful for that. It is what it is.
Definitely a bug, and maybe a silly question… but I’m wondering if the code isn’t matching our perception of the feature:
Cutting tape, pasting back a merges version. Simple enough to image with tape. But the actual process is a mix down/bounce. It has to go through the mixer.
What if from a code perspective, it’s using the mixer in your destination tape project to mixdown those tracks?? That would explain things.
When Field first shipped, the mixer was the same access all tapes. That’s fits the paradigm of swapping the tape on a tape machine in the studio. Why on earth would swapping the tape mess around with your mixer settings. But people wanted the tapes to be more like projects, and they added that in an update. When they added unlimited length lift/drop, which it originally didn’t have either.
But yeah, maybe that’s it In which case the easiest work around is to mergedrop back to the source tape first, then lift that and drop into your other project/tape.
I just tried to replicate what your talking about & Im not getting any loss in the stereo field. I lift all in studio 4trak and drop into porta 4trak, all stereo field is still there. Try resetting your op1?
Using the new drop/merge feature, no loss of stereo field whatsoever on any tape. Although I do drop in the initial tape and then take the copy to elsewhere like @darwiniandude stated.
ah yes so you are circumventing the bug. i believe the bug was that dropping the original shift+lift into the new project directly.
im not convinced the bug is really a bug. i could still see how having it this way provides more flexibility to the end user. if you want the image to remain exactly as is, then copy the image itself. if you want to take your project and render it somewhere else to see how it sounds in a diff project under the conditions of that project, then lift+drop directly. to have the panning and image of audio “override” the panning/image of the destination REGARDLESS of the two obove options seems like it would be less desirable than the current behavior. just my 2c.
Install 1.50 directly on what you have. They aren’t ‘cumulative’.
Edit: Clarification, each software load is complete. So any changes in previous versions will be in the 1.50 software load.
I posted a video earlier showing the Terminal FX (and modulating it with an LFO) but here is my one on Mixdown. This is going to be super handy for me since I previously had to jump through a bunch of hoops to do tracks 1+2+3 into Track 4, to make room for more. Although this will do 123&4 into a single track, which is even better. Previously that had to be done via the LP/Record master recorder.
The merge drop is something I asked for, so I am naturally quite happy about it. It will be a huge help in recording more complex tracks.
As far as stereo field changes, @djcuvcuv seems to be right. It applies the mixer setting of the tape you’re dropping the segment on. I can see how a user could expect the original mixer settings to be preserved. (After all, you’ve “previewed” the sound on using the source tape.) On the other hand, you issue the merge command while looking at the new tape, so it’s not entirely unreasonable to use new tape’s settings. My guess is that loading a new tape overrides “current” mixer settings, so it’s a technical limitation that is quite hard to bypass without considerable amount of extra work.
Terminal is interesting. Generally, I am not a huge fan of bit crushing, but this particular implementation has quite a bit of range. It sounds really good on drums on 3+ bit setting. It can also make Dimension engine sound very crunchy and distorted, which gives it a nice chiptune vibe. Combined with the improvements to Random LFO, you can get some really nice SID-like sounds out of Field now.
(I wonder what they really do in that effect. There is no such thing as 3.1 bit depth.)
So there is a hidden bonus - a huge one - to shift drop.
If you lift a single track, and then shift-drop onto some tape that already has something there - it merges the two sources! This is amazing. So for example, you can use it to double-track a part. Record something, lift it, shift-drop it down slightly later than where you lifted it from. Instant double-tracking!
somehow I#ve never really used the Phone fx neither on the OG or the F but somehow the similarity to Terminal is really interesting, nearly a category on its own.
the core of the TX6 bit crusher is def. that Terminal Algo. would love to see a Stereo Tape Delay Visualization on the Field, which expands the EP-133 Delay, it sounds awesome when self oscillating.
…it may be possible in the future to split the Drums and Synth section on the field when the system separates the Stereo Operation to Mono only, like on the OG1 x2 in parallel.
the new engines Dimension, Vocoder, Mother and Terminal are only possible (that added filter) because the OP1f makes use of the newer CPU, the advantage of the field, someone said that a few weeks ago
… a modified PONG Screen and the pixel representing the ball could then represent some modulation in the Stereo field, idk like up to 6 balls swirling around with a pattern generator (random) when one paddle can’t hit the ball—therefore the modulation would fade out.
a Vector TT tournament could represent such patterns thru fitness of the player and how often the ball will bounce on the table
the people in the audience representing feedback, a few people cheering vs the whole audience, shouting and disrupting the tournament.
This is an amazing update. I was just thinking to myself, “hey if I ever need to use more than 4 tracks I would need to send to Daw and back out again” and now that workflow workaround. For track limitation is essentially gone. I’m soon to own it yet. But this is great
If you use Shift+Orange in the tape screen to pan audio before recording to tape, that panning will be preserved with shift lifting and dropping. If you lift something recorded centered but panned a direction in the mixer, the centered audio will be dropped to the new track and respect its panning position.
Interesting because shift lifting with the sampler respects mixer settings…
Also very cool is that you can drop as many times as you’d like. So you could lift, for example, a single track with a kick drum and drop it multiple times to the same track for saturation.
In which case the easiest work around is to mergedrop back to the source tape first, then lift that and drop into your other project/tape.