and furthermore!!!!!! :o

Nutekk

Quit your winning....just use the Virus Ti's analog outs. Fuck the integration bit.....just get on with it. Dont feel too hard done by....

Your stressing over nothing - you either want a Virus or you dont. You just seem to be looking for reasons not to buy. Ok, in your opinion the Ti side of things seems to dissapoint you....well you could always wait a couple of years for the MKII which im sure will address the concerns. Alternatively you could just view this new Virus as a mega powerful version of whats gone before. With the TI bit aside....its still a powerful synth. Ah, but alas....your going to need more inputs....awe :lol:

The TI spec is set....thats how it is. Im not even buying the TI and i have no ambiguity over the specs. If you read carefully....Access never specifically claimed 'this' or 'that'.

DS

It did occur to me that the TI audio over USB for me is running at 48KHz, and yet I am running Cubase at 44.1KHz.

So maybe there is your answer. I dont really want to mess with the Cubase sample rate to try what happen at 96K as it means re-configuring a whole long chaing of master clocks and usually several power cycles and reboots before everything settles down again.

yea well i need clarification befor i spend 2300 dollars on a synth
that does claim to " be leading the world in a completely new direction with musical instrument and pro-audio convergence"

and i never realized that you had to anticipate access using clever wording
as to not say this and that.

and whats it friggin to you?
i have one of these on preorder waiting for it to ship!
i need answers


tell access to go f&ck the intergration bit
and f&ck it off the cost too!
wonder how much pointless money in R&D owners have to front
for the total intergration.

mind your buisness

this would be helpful!
it really shouldnt hurt anything...switching it to 96ki just for a sec to see if you get the 48k streams internally ok...
it would solve the problem

its all i want to know
and i have to fight my way with all this bs just to get
some god damn verification

for cryin out loud!

no one answers not access not ben freakin crosland
what i do get is these people that ask me questions and tell me what i want to do isnt this or that
and want me to explain why and how

and i get advise from ben crosland on how his buddy that works in the "industry" sais this and that..

please this is so unprofessional
answer the question.
it may very well work and all this is for nothing.

again im not wanting the usb stream to be @ 24/96
it is great @ 16/44
but
does this limit the host resolution in any way!


...
jesus
(and khazul im not directing this @ you...but if you feel like testing it would be great)

Look man, if I were in the same position as you...id be wanting clarification aswell (so in principle...im not disagreeing with you). As far as Access using clever wording goes....yes....but this is the way capitalist society works. You should see the marketing terminology used at the launch of the Prophet 5 (on board memories!) back in 1978.

The TI integration bit is strictly true. It does integrate.....but how far that integration went should have been clear to most tech wizards when they mentioned USB1.1. Yes, your paying a high price for all the R&D thats gone into this....thats why im waiting a few years for the MKII....so that I get better value for money. Its people like you...who are spending hard earned money on the TI thats going to make the MKII something really special. Give yourself a nice pat on the back for that. Cheers!

DS :lol:

OK, ill stop the sarcassim now. Truth is, if i could afford a TI right now...id buy it. I'll always use analog outs......i'll do anything to eliminate fuss over recordings...

DS

more headroom for a start. additionally, you can work in 24 bit/96 khz and dither down to 16 bit/44 khz for cd. a dithered 24 bit to 16 bit render will *always* sound better than a straight all in 16 bit render.

ill explain. dithering is the process of adding low level noise to a recording. if you know what it is, then you know where this is heading and i need to explain no more. if you dont, ill explain for the benefit of the uninitiated.

imagine a picture in photoshop of a puppy. saved from a digital camera, its a 32 bit bitmap which is capable of displaying 16.8 million colours.

now imagine you save this file as an 8 bit 16 colour bitmap. what happens is that there are not enough colours to accurately display the puppy and instead you get flat blocks of colour in the rough shape of a puppy. hardly any detail is perceived. no individuals hairs of fur. colour changes in visible gradiants because theres only 16 available colours etc.

theres a tool in photoshop called dither and in principle its the same in sound technology. dither adds speckled noise to an image when its rerendered.

if you were to take that 32 bit, 16.8 million colour bitmap and dither it down to 8 bit and 16 colours, you would still have a 16 colour palette but you will notice that the image has more detail than the undithered render. the speckled noise creates this stipled effect - colour gradients appear smoother because of the stipling. overall there is more detail in the original image retained. you can do this with any photo provided you have a photo manipulation program that can dither and see the results yourself.

transpose that idea to digital recording. 96,000 khz recordings have double the resolution and whilst the impact that has on sound fidelity is only barely noticeable to the human ear, its much the same thing as people scrapping over the sound of a real tb-303 and a fake. the difference in sound terms in minute, not even noticeable to 99% of the human race. yet once you notice it, you CANNOT GO BACK. same deal with classic analogue synth sounds and digital clones.

additionally, you will get less phasing problems caused by aliasing which if you work with digital synthesizers IS going to happen to various degrees and in many cases you will find you have more headroom than if you worked in 16 bit and 44 khz all the way through.

overall, working in 96 khz is a good idea and i would recommend it. the only downsides are that some soundcards have less audio ins/outs when working at higher sample rates and the cpu hit is much much higher. but these are things which you can work around by changing your workflow and bouncing more often. other than that i see absolutely no reason why you should not work in 24 bit/96 khz and dither down to 16 bit when you are finished. plenty of producers and engineers have been doing precisely this for years. whilst it would be a shame if the TI couldnt stream in 24/96, i guess its not that much of a problem. just render all parts from the virus in a separate project file and import into your 24/96 project. i appreciate this would negate much of the total integration feature of the synth but come on. its not the end of the world. theres enough in this latest iteration of the virus to warrant a new hardware revision. and if you aint happy, take it back and get a second hand virus c for less than half the price. then everyone is happy.

thats very intersting Wandering Kid-great stuff.

my opinion of the differences in bit rate and frequency rate, is
(firstly, increadibly layman , but here goes)

24 bit sounds slightly clearer than 16 bit, but adds to me a slight haunting
feeling.
16 bit has more of that thick silvery edge, however the sound also has a slight more 3D deepness, whether it is an artificial caused by this silveriness. still the 16 bit feel s more balanced to me.

mp3s actually hurt me because one doesnt breath as freely, when listening to them. It has an unnatural stifling. and if all music was in mp3 then i would never listen to music again.

there are frequencies that cant be heard but can definately be felt, and mp3s cut out those too much.

Infact i am certain that constant listening to mp3s will create international health problems like constipation epidemics

If the virus works @16bit, it doesn't mean that your sequencer's engine and other plugins will work @ 16bit. However I'm still not sure if the TI works @ 24bit or 16bit 44.1kHz/48kHz but it doesn't matter. If the TI outputs only @ 16bit, it just is a 16bit sound. The same thing if you play 16bit samples in Logic or Cubase. The rest of the project won't get limited to 16 bits. The sample rate here is the key, not the bit depth. Sample rates must be the same. Otherwise the sound sources cannot be synced and mixed.

I respect your opinion about sample rates too, but what I'm trying to say is that it doesn't automatically mean that you have to work @ 16bits if the sample rate is 44.1kHz or 48kHz.