Quote:
Originally Posted by manley
Ok i see
As im understanding this for an online render i'd send the stereo track outputs to the console correct?
I also returned that trk into reaper (input valve ch)
When i render online im getting zero signal though & don't know why using this method unless im way off track & doinf this wrong..
Im cool with offline rendering but want to grasp online too ya see & bring myself out of the dark ages LOL  |
If your online render isn't working, make sure the
GSR's signal is getting back to REAPER. Just becuse you can hear it at the desk output doesn't mean it's returning to the DAW.
Depends what you are wanting to achieve Sean. Performing an online render is done to use something in the analogue domain
at render time. That could be outboard compression on the stereo buss, it could be using your valve channels, it could be using your PCM70, it could be using the desk's channels for analogue summing. Remember render tends to be the last stage before mastering, after all the mix decisions and tweaks have been made.
Some of these processes could -
and should be done by a
record pass which results in a track of new recorded material (eg reverb return on vocals, valve channel return on guitar) -wav files that can be then used in the mix with decisions of level, EQ, etc made on their sound and at the point where a mixdown is wanted, an offline render could then be used for your final mix.
What do you mean by stereo track outputs in this case? The master channels? Whether you send your REAPER master channels to some part of your desk
depends entirely on what you want to achieve in the analogue domain.
For example, if I was wanting to put an outboard compressor across the master buss, I'd mix with an instance of ReaInsert on my REAPER master channel which sent to outs 31 and 32. I'd put the buss comp on the GSR master inserts and set the Digital Master switch ("L-R"), bring the "Dig Master Input" level up, and the control room source to "Main Mix L-R". The ReaInsert return channels would be ins 31 and 32. I'd then set up the mix in REAPER while monitoring through the GSR master faders and the buss compressor, and once happy I'd render online.
This way I'm using the buss compressor to set up the mix (you mix through it, not just set up the comp after the mix, because the compressed sound will influence your mix decisions) and I'm using the desks master channel and rendering online -
but that is because it suits the workflow.
For sending your guitar through the valve channels, I'd send your original guitar track to out 29 or 30 and I'd set up another track or tracks to record the corresponding in or ins. I'd do a
record pass and save the
wav files, and then either replace the original guitar track with the valve recordings or blend it with the valve recordings in the mix, rendering offline at the end (unless I wanted to do the above buss comp thing).
You have a very capable and flexible tool in that GSR desk. Don't feel you have to use all of it for everything. Use bits of it and listen to the results. Feel your way in. Use it as a big recording interface to start with (you can record a whole band at once with that -preamps and all!), use it as a handy monitor controller. Use it for easy analogue outboard record passes (plug stuff in, set your DAW routing buttons by the guide, ins and outs on your matrix, -go!). Mix through an analogue buss comp (instructions above, don't forget to set the "dig master input" level knob), try getting the motorised faders to control REAPER channel faders. Try a bit at a time and get familiar. Don't try to do it all at once.
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