Does this mean you are solo-ing the mixer with no fold unit inside and still experiencing folding?
Hmm. I probably should disable the encoder smoothing for discrete parameters. Thanks!
Have you tried playing around with the “Which side” setting?
Just to clarify, setting the buffer length does NOT set the loop length. It determines the maximum loop length. Loop length is controlled by how fast you trigger the reset. This is dictated by the following principle: ER-301 shall not act as a timing master.
I’m still slowly going through all the ramifications of what people mean by pedal looper, and so far the most distinctive property actually lies in the implementation of the tap tempo portion. In other words,
- When recording for the first time, the record button is hooked up to a tap tempo unit which is in turn controlling the loop length.
- After recording the first loop, the record button is disconnected from the tap tempo unit.
Everything else is pretty much the same. I think…
I think it’s also how the record/ dubbing works.
As reference, I have three loopers (all Boss). They work as follows.
Press record, it records a loop of variable length (based on pressing the pedal). On pressing the pedal the second time
It will start playing the loop and optionally go into dub mode or play mode. Anything played will also be heard.
In dub mode the original loop keeps going at the same volume and anything new is recorded at the same level.
On two of my pedals I can sync to a clock. In both cases you can set the length of the loop and have it tempo synced.
I think a lot of this can be done with the existing units, but not necessarily the easy workflow on dubbing.
If I solo the mixer with no fold unit, I hear no folding. I was under the impression that units inside of mixers affect the units which precede it in that mixer only. Maybe I missed something and need to read/watch up on mixers and/or the fold unit.
Your understanding sounds correct here but your previous sentence turns it into non sequitur.
Hah! I’m the king of those in the morning
When both mixers are active, the folding effect is applied to both mixers regardless of which mixer the fold unit is inside of. And yes, if I solo the mixer which does not have the fold unit inside of it, I hear the un-folded audio, and this behavior is again true for both mixers regardless of their position.
Given that what you are hearing is a mix of the folded and unfolded audio, how are you determining this then?
(Keeping in mind that it is late enough for me to be committing some of my own non sequiturs.)
If the fold unit is inside of the first mixer in the series, and I set the fold unit’s parameters to max, no audio passes from either mixer when both mixers are set to equal dB levels. Does that answer the question?
This part is quite odd, since this ends up pushing the entire signal down below -1 so that it clips to just a constant DC signal at -1 which is silent. This also explains why subsequent signals mixed afterwards are affected: You are subtracting this large DC offset from other signals downstream.
Understood. My confusion then is because of its placement inside of a mixer, as my understanding of the mixer functionality led me to believe the fold unit’s effects would be limited to within that mixer unit only.
This is a common issue with mixers. If you mix a large magnitude signal with a small magnitude signal, you only “hear” the large magnitude signal. The tricky part is realizing that a large magnitude signal could be silent.
And just to reiterate, the fold unit is indeed only doing its thing on the signal presented to its input just like you expect. What ended up confusing you is how the folded and unfolded signal affected each other in the mix.
Pro tip: Avoid mixing signals with DC offsets (unless it’s on purpose). If you see that your signal has a large DC offset, use a Fixed HPF unit to remove the DC offset before mixing.
Ah, I see - thank you for the clear explanation! I was unaware of the DC offset present and its magnitude.
Yes, of course - but with no effect. I thought “Which side” sets which side of the slice will be played and where the playback starts, which is great when experimenting with pos/neg speed.
But I found no way to play the whole sample from a slice on without stopping or looping at the next slice and I somehow thought that was what “How much” was about.
Stupid question: is a “slice” a point, or a region? As a programmer I tend to think of a slice as a subset of the data, so it would be a region. I always thought that a file was divided into “slices” by “slice markers”. One slice marker means two slices: start of file to slice marker and slice marker to end of file. But it’s being used in this thread as if a “slice” is a point in the file.
I’m hoping to leave this distinction to context. Sometimes it means a specific point and sometimes it means a region. At times I’ve considered using the word cue but it has its own baggage. In the end, I’m not letting words get in the way of what I would like to do.
Yes. Working with loopers without time sync it’s pretty much that. I use an ditto and ditto xl. When I Pusch record I record, when tapping it again it loops everything from the start to the point I Puschel rec again. If I want to overdub I push rev again. That’s all.
I think the ditto is a great example of ease of use.
One knob, and one pottie to set its level.
(Of course you also have „undo“ and „stop“ command with the rec button …)
What about this?
Eager to get started with coding units!
I am very much aware of this.